The Strand Theater Company, Baltimore’s company dedicated to telling stories by and about women, opens its 11th season with “‘Night, Mother,” a play that opens with the daughter, Jessie, telling her mother, Thelma, that she’s planning to kill herself that night. By the show’s emotional climax, it’s clear Thelma is one of the reasons Jessie has come to such a decision.
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.
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.
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.
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’ 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.
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.
