By André Hereford on August 22, 2026 @here4andre

Over the course of 30 years in Rajiv Joseph’s two-hander Gruesome Playground Injuries, childhood friends Kayleen (Irene Hamilton) and Doug (Jimmy Bartlebaugh) both suffer more than their share of scrapes, bruises, and near-fatal events. The pair’s complicated friendship likewise encounters a few close calls in their lifelong shared journey of hurt and healing.
Alternately brooding and lighthearted, the play hovers between heartfelt coming-of-age drama, star-crossed romance, and persistent gallows humor surrounding Kayleen and Doug’s preponderance of painful, sometimes gruesome, ills and injuries.
Keegan Theatre’s season-opening production, staged by co-directors Susan Marie Rhea and Kurt Boehm, synthesizes that melange of moods into a compact, occasionally moving performance that isn’t as funny as it wants to be, but perceptively renders other aspects of Kayleen and Doug’s growing pains.
The two first meet at eight years old in the school nurse’s office, blithely unaware their lives will intersect in nurse’s offices and hospital rooms for years to come. Aging these characters across decades, Hamilton and Bartlebaugh start out as little rascals on a swingset, then have to establish Kayleen and Doug restless and changing at 13, 18, 23, 28, 33, and 38, with scenes proceeding not in chronological order.
Hamilton, in particular, nails the task of locating and maintaining the essence of who Kayleen is at any given age and under many different circumstances. Her Kayleen at eight is a bright, precocious precursor to the teenager, then woman, she will become.
Composed as a suite of duets between two souls bonded in pain as much as love, the play expresses those notes eloquently through Kayleen. “Girls don’t get scars,” Doug tells her when they’re kids. He shows his scars off with pride. Hers, for the most part, she keeps hidden away.
When she can’t hold back the torrent of emotions eating her up inside, Hamilton lets it flow naturally, so it’s resounding but not loud. At Doug’s hospital bedside after he’s been struck by lightning, Hamilton portrays Kayleen’s fear of losing him, not to the lightning but to another woman, as an aching fear of loneliness that pretty much sums up the human condition.
Kayleen over the years is scarred by pain, some self-inflicted, that cuts even deeper than the daggers of teenage and twenty-something romance. Doug’s unlucky parade of injuries generally are more external, entailing a technical challenge that’s fairly met by costume and makeup, hair, and prosthetics designer Alison Johnson, and by Bartlebaugh’s physical portrayal.
Perhaps owing to the idea that girls mature faster, his boyish Doug feels boyish until the end. In a performance that leans more comedic, and reads as less grounded in their Gruesome reality, Bartlebaugh could do more to distinguish Doug at different ages, having seen and done and learned a few things that alter his inner makeup and outer attitude. But Doug doesn’t age much with the passage of time.
The play marks that time with helpful captions — “Age 8, Nurse’s Office” or “Age 38, An Ice Rink” — projected above Josh Sticklin’s brick and concrete playground set. Along with the swings and slide, and see-saws supported by cinder blocks, the playground is littered with hazards, both a humorous touch and a stark fact of life.
The co-directors mark the passage of time by spinning that set on the stage turntable, with the actors visibly doing their costume changes on the rotating playground. Those quick-changes could be quicker, though — there’s a whiff of dead air in the transitions as the set goes round and round, the audience waits, and the performers are on the spot, still pulling on socks and shoes.
Yet, when the set settles they’re on their marks, and ready to resume Kayleen and Doug’s tandem odyssey at whichever gruesome injury has once again brought them close. Love, and pain, will keep these two together.
Gruesome Playground Injuries (★★1/2☆☆☆) runs through Sept. 6, at The Keegan Theatre, 1742 Church St. NW. Tickets are $40 to $65, with discounts available for students, seniors 62+, and patrons under 25. Rush tickets available at the door, starting an hour before showtime. Visit keegantheatre.com.
By Randy Shulman on August 29, 2026 @RandyShulman
Everybody just wants Ridley Scott to get on with it.
By that, of course, I mean wrap up the damn Alien trilogy he started with Prometheus and left dangling -- quite unnervingly -- nearly a decade ago with Covenant. But Ridley is a stubborn old director, and he's going to make what he feels like making, even if he teases us sadistically with promises of "Maybe it'll be my next film -- I'm developing it."
Kodak film from 1966 develops faster.
I am one of those people -- a fan, if I'm being honest -- who really, really, really want to see how David's story resolves and how the Xenomorph actually comes into being, if that's even the point anymore. So you'll pardon me for going into Scott's latest film, The Dog Stars, with a critic's chip on my shoulder. I didn't expect to be thrilled, interested, or moved. I didn't expect to like it, even slightly.
By André Hereford on August 29, 2026 @here4andre
"Well, that was horny." So declared a knowledgeable patron to me following the amply entertaining opening night performance of Monumental Theatre's The Rocky Horror Show at Dance Place.
True, the cabaret-style production, staged by company co-artistic directors Jimmy Mavrikes and Michael Windsor, accentuates every lustful beat of Richard O'Brien's classic sci-fi horror musical. But the show boasts many other qualities in living up to the co-directors' stated aim for "something sexy, immersive, goofy, gay, and, above all, fun!"
The audience brings a lot of the fun to Rocky Horror, through call-outs and other means of participation, encouraged here by the bag of props at your seat and instructions on your program. Further tips from the show's ever-alert Usherette/Narrator (Cera Baker) also prove helpful for Rocky Horror virgins, such as myself.
By David Opie on August 30, 2026
It's said that "All work and no play makes Jack a dull boy," but what if life is all play and no work? It turns out that the end result can be just as unhinged, if not more so, if the latest thriller from TV super-producer Ryan Murphy is anything to go by.
The Shards opens with a fictionalized version of American Psycho author Bret Easton Ellis (Igby Rigney) watching an early screening of The Shining in 1980s Los Angeles. Bored with little to do, the affluent teen loses himself in fictional worlds, some of his own creation, and others helmed by directors like Stanley Kubrick.
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