Cassandra Miller

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Cassandra Miller writes about theater for Baltimore Fishbowl. Regionally, she has written about the arts for Baltimore magazine, Bmore Art, City Paper, DC Metro Theater Arts, The Bad Oracle, Greater Baltimore Cultural Alliance, and The Washington Post, where she was the Entertainment Editor of Express. She can be reached at [email protected]

Everyman Theatre’s ‘Dancing at Lughnasa’ is a poetic portrayal of family and memory

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From left to right, Katie Kleiger, Annie Grier, Labhaosie Magee and Megan Anderson in “Dancing at Lughnasa.” Credit: Teresa Castracane.

Everyman Theatre’s season-opening play “Dancing at Lughnasa” is a poetic, nostalgic remembrance of a family teetering on the brink of change in 1936 rural Ireland.

Feral Woman’s ‘In Threes’ brings surrealism to 2002 novel ‘The Quick and the Dead’

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Image courtesy of Feral Woman.

Seeing Feral Woman’s production of “In Threes” is like being in a Dali desert landscape for two hours, with eccentric characters stepping in and out and the line between the living and the dead blurring like a mirage.

With its 11 short plays, Rapid Lemon Productions’ ‘Variations on Sacrifice’ offers something for everyone

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Donna Ibale in “Springtime Cyclic,” by Lee Conderacci. Photo courtesy of Rapid Lemon Productions.

Rapid Lemon Productions’ “Variations on Sacrifice,” a showcase of 11 bite-size plays by Baltimore playwrights, presents something for everyone: bedroom antics after the first-ever penis transplant, a moving breakup monologue, human sacrifice via office politics, plus eight other unique short stories.

Fluid Movement’s ‘Alfred Hitchcock Presents: The Water Ballet’ adds irreverence to the legendary director’s thrillers

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Fluid Movement’s “Alfred Hitchcock Presents: The Water Ballet.” Photo by Vincent E. Vizachero.

Never were injured peeping toms, murderous birds and psychotic sons such a joy to watch as they are in Fluid Movement’s “Alfred Hitchcock Presents: The Water Ballet,” the 2018 summer production by the community-minded Baltimore performance art group.

Arena Players brings the Harlem Renaissance to life in ‘Ain’t Misbehavin”

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Photo credit: Felicia Chapple

Arena Players’ production of “Ain’t Misbehavin'” charms with charismatic performances, dapper costumes and the infectious joy of its Harlem Renaissance-inspired score.

A five-person cast sings this musical revue, named for a Fats Waller song, celebrating the scene of the 1920s and ’30s Harlem Renaissance and haunts like the Cotton Club and Savoy Ballroom through more than two dozen exuberant, cheeky and tender songs. The Tony Award-winner opened on Broadway in 1978, and has been a favorite musical revue for the past 40 years.

Review: ‘The Quickening’ bridges the world of the living and the dead, and raises heart rates

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Amanda Spellman, left, as Beth and David Shoemaker as Matt in “The Quickening.” Photo by Shealyn Jae Photography.

Pregnant women may be unsettled by “The Quickening,” the slow-burn ghost story on at Fells Point Corner Theatre through July 1. If they haven’t already watched, they’re probably avoiding the movie “Rosemary’s Baby,” which seems to have provided at least a little inspiration for the new play by Baltimore playwright Mark Scharf.

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