The theater community in the D.C. area seems to have found synchronicity with their programming this November. So many of the shows this month are modern takes on classic theater or familiar tales with a current spin.

Last Chance

E2 – Rep Stage presents the world premiere of Bob Bartlett’s contemporary take on Christopher Marlowe’s Edward II. The story of the infamous ineffectual monarch focuses on his relationship with a nobleman in his court and his dramatic fall from the throne. Catch it before it closes Nov. 17.

Everybody – Obie Award-winning playwright and MacArthur Genius Grant recipient Branden Jacobs-Jenkins (An Octoroon) brings his take on the 15^th century play Everyman to Shakespeare Theatre Company. Each show is different: Actors draw their parts for each performance in an onstage lottery. These archetypal characters take a journey with the threat of looming death. Show closes Nov. 17.

Just Opening

Airness – The Keegan Theatre combines forces with 1^st Stage to bring audiences a D.C. premiere about an air guitar competition and one skeptical woman who learns that it’s not just playing pretend: Air guitar is a serious skill and a passion for a lot of dedicated nerds. Catch this jam Nov. 8-30.

Occupant – Director Aaron Posner is well known in the D.C. area for his inventive interpretations of classic works of theater (such as his turns with Chekhov). This time, the director tackles a later in life work of  Who’s Afraid of Virginia Woolf? playwright Edward Albee at Theater J. This story of famed 20^th century sculptor Louise Nevelson isn’t just a linear telling of a life story, but imagines her recounting her life from beyond the grave. The show runs Nov. 7-Dec. 8.

White Pearl – When an upstart Singaporean skin care company posts a skin-whitening ad that goes viral in the worst way, beautiful heads will roll in this play by Thai-Australian playwright Anchuli Felicia King. Studio Theatre brings this timely show about toxic office politics and the power of the court of public opinion to their stage under the direction of Desdemona Chiang, who’s making her D.C. directorial debut. Runs Nov. 6-Dec. 8.

A Chorus Line – The musical singular sensation is back, but this time with new fancy footwork. While the beloved Michael Bennett musical about the lives of Broadway dancers wowed audiences during multiple Broadway runs and tours—especially for its high-kick and top-hat-heavy dancework—this Signature Theatre production adds entirely new choreography by Denis Jones. This production is directed by Matthew Gardiner, Signature’s associate artistic director with a keen eye for directing modern musicals, and has one of the largest casts in Signature’s history. The show’s long run lasts through Jan. 5.

The Curious Incident of the Dog in the Night-Time – This visually arresting (not to mention Tony and Olivier Award winning) play adapted from the beloved book by Mark Haddon about a young man with a mathematical and unique mind that gets entangled in the mystery of a neighbor’s murdered dog comes to Round House Theatre. This production is co-directed by Round House’s artistic director Ryan Rilette and Jared Mezzocchi. Mezzocchi has a very strong design background (with previous local work at Round House and as a company member of Woolly Mammoth) and also serves as designer of this show’s projections that serve as an important visual element to the experience. Runs Nov. 20-Dec. 22.

Quick Runs

On The Lawn – Explore new terrain, figuratively and perhaps literally, as the LubDub Theatre Company (a physical theater company out of NYC) works with Georgetown theater and performance studies students to create a new theatrical project focused on the topic of the lawn in American history. While this show happens indoors at Georgetown University’s Davis Center this immersive performance using music, illusion, and movement will take audiences from “freedom lawns” to “drought shaming.” Limited performances run November 6-16.

What to Send Up When It Goes Down– After a D.C.-centric tour that hit the Duke Ellington School of the Arts, The Arc, and Howard University, this show lands at Woolly Mammoth. This production uses humor, song, and movement in a series of vignettes that approach the subject of violence against black people with the goal of finding healing and catharsis. This is a show that asks audiences to get involved and not just be passive observers of a performance. Runs through Nov. 10

RENT: The 20^th Anniversary Tour – While Gen Z audiences may have seen January’s televised live production with a smattering of stars (some less fit for live theater than others), this (actually live) tour is the real celebration of 20 seasons of love. Jonathan Larson’s New York-set reimagining of Puccini’s La Boheme runs Nov. 12-17.