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Amy Kotkin

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Amy was the former Director of Smithsonian Journeys where she did promotional writing and editing for Smithsonian travel and is an avid theatregoer and supporter of the arts. She is thrilled to be writing for DCMetroTheaterArts.
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Mosaic’s searing ‘Keffiyeh/Made in China’ now a single video on demand

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Two rival sisters feud in intense and surreal Adrienne Kennedy drama

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Adrienne Kennedy festival replays a painful drama from her own life

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A Black son’s assault by police, powerfully told in the Adrienne...

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Adrienne Kennedy festival opens with haunting letters between lovers

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A strange phone tree leads to hilarity in ‘Human Resources’ at...

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Olney’s virtual ‘The Humans’ shines with fine performances

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A wonderfully manic ‘#txtshow’ from performance artist Brian Feldman

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Update: Synetic Theater’s wonderfully inventive ‘Decameron’ is now all online

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All under one roof in Signature Theatre’s ‘Easy Women Smoking Loose...

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Laura C. Harris (center) with Emily Kester, Jonathan David Martin, Holly Twyford, and Nora Achrati in 'Silent Sky' at Ford's Theatre. Photo by Scott Suchman.
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‘Silent Sky’ at Ford’s Theatre celebrates early female astronomers who reached...

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Prologue Theatre revisits the day after 9-11 in ‘Recent Tragic Events’

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The Second City’s ‘She The People: The Resistance Continues’ levels the...

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Sue Struve and Steven Carpenter in Washington Stage Guild's 'Hard Times.' Photo by C. Stanley Photography.
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Washington Stage Guild delivers skillful production of Dickens’ ‘Hard Times’

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Kevin Hasser (Robert), Rena Cherry Brown (Sophia), and Colin Smith (Calvin) in 'West by God' at The Keegan Theatre. Photo by Cameron Whitman Photography.
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Review: ‘West by God’ at The Keegan Theatre

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Review: Pulitzer-Winning ‘Fairview’ Jump-Starts Woolly Mammoth’s New Season

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News

Open To All: The Kennedy Center’s New Addition Encourages Community Engagement

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Review: An Audacious and Urgent ‘Assassins’ at Signature Theatre

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2019 CAPITAL FRINGE FESTIVAL

2019 Capital Fringe Review: ‘Hold the Tomato’

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2019 CAPITAL FRINGE FESTIVAL

2019 Capital Fringe Review: ‘That’s Not How It Happened’

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