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]

‘Fun Home’ at Center Stage strikes a chord with anyone making peace with their past

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From left to right, Andrea Prestinario, Molly Lyons and Jeffry Denman in “Fun Home.” Credit: Bill Geenen.

“Fun Home” strikes a chord by creatively showing, often through song, how defining moments in our childhood and formative years shape who we become as adults.

Q&A: Stephanie Ybarra discusses her vision for Center Stage, diversity in the arts and more

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Photo courtesy of Baltimore Center Stage.

Stephanie Ybarra is only a couple of months into her full-time role as the artistic director at Baltimore Center Stage, but already she has met for listening sessions and meet-and-greets with dozens of leaders in the Baltimore community, been named the keynote speaker of Maryland Arts Day in Annapolis on Feb. 14, and completely rearranged the admin offices at 700 N. Calvert St.

19 theater shows to see in Baltimore this February

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Katie Hileman and Kiirstn Pagan of Interrobang Theatre. Credit: Studio 5 Baltimore.

Baltimore has more than 30 independent theater companies, not including professional and semi-professional establishments like Baltimore Center Stage, Everyman Theatre, the Hippodrome Theatre and Chesapeake Shakespeare Company. It’s ripe with talent and innovative interpretations for an affordable night (or afternoon matinee) out, especially during the dead of winter.

Here are some options worth braving the cold for in Baltimore City this February.

Fells Point Corner Theatre delivers an ambitious, energetic take on ‘Jerusalem’

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Ian Blackwell Rogers as “Rooster.” Credit: Shealyn Jae Photography.

“Jerusalem” is a behemoth of a play, clocking in at more than three hours long, with a 14-person cast, and symbolically tackling the entire history and society of Britain through a script chock full of inferred mythological, literary and historical references that would delight any former English lit major.

Strand Theater Company presents a thoughtful adaptation of ‘Night, Mother,’ a play that’s not easy to watch

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Andrea Bush in “‘Night, Mother.” Photo courtesy of the Strand Theater Company.

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 ‘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.

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