Production History


  • You Were Mine by Rachel Lynett - September 2019 at The Kennedy Center’s Page-To-Stage

  • Or, by Liz Duffy Adams - August 2019 at the Capitol Hill Arts Workshop

  • Anon(ymous) by Naomi Iizuka - October 2018 at the Silver Spring Black Box

  • 1 2 3 by Lila Rose Kaplan - July 2018 at the Capital Fringe Festival

  • Soldier Poet by Darcy Parker Bruce - December 2017 at the Anacostia Arts Center

  • Abortion Road Trip by Rachel Lynett - Summer 2017 at the Capital Fringe Festival (winner Best Comedy) and at The Kennedy Center Millennium Stage

  • [gay] Cymbeline by William Shakespeare (with a lesbian leading couple!) - January 2017 at the Anacostia Arts Center

  • Good Kids by Naomi Iizuka - Summer 2016 at the Capital Fringe Festival

  • [all-lady] Macbeth by William Shakespeare (with an all-female cast!) - Spring 2016 at the Anacostia Arts Center

  • The Second Coming of Joan of Arc by Carolyn Gage - Summer 2015 at the Capital Fringe Festival

  • Twelfth Night by William Shakespeare - Summer 2014 at the Bethesda Writers Center


Soldier Poet

Banner design and first photo by Yannick Godts. Remaining photos by Patrick Gallagher Landes.


"Soldier Poet is a powerful work with much to recommend.  Playwright Darcy Parker Bruce [...] allows us to see the horrors of the situation and difficulties raised by lack of mutual understanding and the limited American role in the conflict."

"The actresses portraying the two Syrian women are outstanding."

"Soldier Poet’s portrayal of the war in Syria is vital and important.  Both Darcy Parker Bruce and Theatre Prometheus deserve kudos for tackling a difficult story in a personal and powerful manner.

- DCTheatreScene on Soldier Poet


"[Theatre Prometheus] should be applauded for staging Soldier Poet, a moving and thought-provoking new work set amid the fall of Aleppo and the turmoil of the Syrian civil war."

"With Soldier Poet there is a close and honest connection among the actors and with the audience - in this small space it simply cannot be faked. To be in such proximity, it successfully raises the emotional stakes." 

"Soldier Poet, skillfully directed by Lauren Patton, is a compelling work, richly rendered. [...] For [Theatre Prometheus] to invest in producing an unknown title during a crowded holiday season is a bold choice. Theatre Prometheus might not have the bank account and resources of more established DC theaters, but here that hardly matters. Soldier Poet is memorable, highly professional, and beautifully produced."

"In an intimate theater space with fresh and compelling actors, a persuasive script, and inspired scenic design, Soldier Poet aptly and successfully reminds us of our shared responsibilities and human connections."

- BroadwayWorld on Soldier Poet

Abortion Road Trip


Banner design by Yannick Godts. Photos by Nerissa Hart.


Abortion Road Trip won the audience award for Best Comedy of the 2017 Capital Fringe Festival, and after selling out multiple performances it was given an extension in the final week of the Festival.

The John F. Kennedy Center for Performing Arts gave Abortion Road Trip a fully-staged encore performance on the Millennium Stage as part of the 16th Annual Page-to-Stage Festival. 


"Abortion Road Trip is a blast. It’s serious but also very funny, with relatable characters and (mostly) believable doesn’t shy away from abortion’s nuances and messy complications. That’s thanks in large part to the show’s cast, who infuse their characters with warmth and empathy.”

- The Washington Post on Abortion Road Trip (2017)


“It's all right there in the title: Abortion Road Trip is poignant, funny and topical. It's everything a Fringe show should be. I loved it, and you will too.”

"The story's emotional impact lingers long after the final bows... Regardless of your stance on abortion...the show is very much worth seeing.”

- DCist on Abortion Road Trip (2017). The production was named an early Recommended Pick, and later received a 'Fringe-tastic' rated review


"The characters in Abortion Road Trip have different, sometimes conflicting opinions about the ethics of abortion and how a woman should feel or talk about it, and the story is richer for focusing only on women’s voices. A healthy dose of humor is mixed in with the difficult situations these women encounter. The comedic relief never feels forced or inappropriate because it comes from a real understanding of women’s lived experiences... It’s well-paced, well-written, and worth it."

Washington City Paper on Abortion Road Trip (2017)


"This is a play written and sculpted by incredibly talented people."

- MD Theatre Guide on Abortion Road Trip (2017) 


“The production brings a nuanced and balanced story forward: gentle-at-times, and hard-hitting in the right places."

- DC Theatre Scene on Abortion Road Trip (2017)


"It’s not just about abortion. I try to avoid “message” plays – the ones that feel like after-school specials.  It’s not that. It’s hilarious and smart and true.  And I think that is maybe even scarier to [anti-choice] folks, because if we were doing a message play, they could fight that one message. But these women are just being human, living their lives, and we get to see how complicated it is, and how, for some women, it actually isn’t this big, tragic, horrible thing to have an abortion. Sometimes, that is just the truest, best thing they can do.  It’s really not that controversial of a play – or it shouldn’t be."

- DC Theatre Scene interview with Artistic Director and director of Abortion Road Trip Tracey Erbacher about the anti-choice protests that took place outside of the performances


Metro Weekly featured Abortion Road Trip in their 2017 special issue on Queer Artists in the Capital Fringe Festival!


- DCMetroTheatreArts featured Abortion Road Trip in their roundup of female-led productions at the Page-to-Stage Festival




Banner designed by Yannick Godts. Photos by Patrick A. Lachance.


"'If you can get somebody in a room to see somebody live and love within the context of a story,' says Erbacher, 'it makes it so much harder to ‘other’ that group of people.'"

-from Metro Weekly's profile of Theatre Prometheus Artistic Director, and director of [gay Cymbeline], Tracey Erbacher (January 2017)

"[The] direction, acting, performance style, and stage arts [are] utterly beguiling... Suffice to say, it had me enthralled throughout."

-DC Metro Theater Arts on [gay] Cymbeline (2017)

"The ensemble, aptly directed by Tracey Erbacher, is really outstanding... The decision to cast a woman in the role of Posthumus is a revelation. Suddenly, Shakespeare's silly comedy has real political bite... The gender-blind casting that follows allows other women to turn in star performances in roles that would have otherwise been closed to them."

-BroadwayWorld on [gay] Cymbeline (2017)


"Unlike some other recent Shakespearian productions involving playing with gender—which have been criticized for not using this tool to truly complicate the work they’re doing or even adding in elements of misogyny to the text—Cymbeline actually benefits from its queering...The tagline for [gay] Cymbeline is #MakeShakespeareGayAgain, but what Theatre Prometheus has actually done is to create a fresher and more enjoyable version of this classic play."

-DC Theatre Scene on [gay] Cymbeline (2017)

"The performers luxuriate in the Bard's linguistic dance routines, and everyone involved operates on a high level...[The production] breathe[s] vital new life into one of Shakespeare's less celebrated works."

-DCist on [gay] Cymbeline (2017)


good kids


"Both timely and timeless, Theatre Prometheus’s production of this remarkable play will leave a strong impression on all who see it...Playwright Naomi Iizuka’s narrative moves effortlessly back and forth in time and director Lauren Patton’s execution of the script is excellent.

 [...] The play is utterly, perfectly cast. All of the actors deliver jaw-dropping performances, led by Ife Johnson’s powerful portrayal of Chloe, the victim of everyone’s misdirected scorn.

[...] The play reminds us that just because you’re 'a good kid,' doesn’t mean that terrible things can’t happen to you or that you can’t do terrible things to others. Everyone is human. This is a great script, a great production and a must-see in this year’s Capital Fringe Festival."

-DC Theatre Scene on Good Kids (2016)


"Theatre Prometheus is presenting a remarkable production of Naomi Iizuka’s Good Kids, which is inspired by the famous Steubenville, Ohio rape case of 2012. 

You should run to see this show. It is wonderful to see these talented young actors display such commitment and fire in their performances.

Direction by Lauren Patton is first-rate, and this play deserves a place in the forefront of the conversation about rape, privacy, and the social consequences of gender...Good Kids is not to be missed!


-DC Metro Theater Arts on Good Kids (2016)


Metro Weekly featured our production of Good Kids in their 2016 special issue on the Capital Fringe Festival!


[all lady] macbeth


"The ensemble as a whole successfully carried the audience from moment to moment in the tragic story. Each actor brought his/her own level of individuality and creativity to Shakespeare’s roles that have been around for centuries...Full of creativity and energy, Theatre Prometheus is a group you do not want to miss!"

-DC Metro Theater Arts on [all-lady] Macbeth (2016)


the second coming of joan of arc


"[Theatre Prometheus' production] is a testament to how good theatre can be as simple as Shake n’ Bake. One part provocative writing to one part committed acting, together with a splash of politics and a pinch of lyricism. The result is a delicious if slightly salty soufflé that rises with feminism and is best served piping hot.


-DC Metro Theater Arts on The Second Coming of Joan of Arc (2015)