One highlight of the production is how Starnes, the director, and the designers engineered the transitions and time jumps between scenes. Sarah Beth Hall‘s scenic design evokes a stadium, a locker room, and any location needed. An asymmetrical stretch of a running track serves as a backdrop. Projections of Ann and Sophie make for smooth and eye-catching scene transitions, passing like live reenactments of Nike commercials. The actors strike poses, move to the music, and, in a snap, advance hours or days without missing a beat. Lighting designer Alberto Segarra, projection designer Mark Costello, sound designer Thom J. Woodward, and scenic designer Hall each deserve gold medals for their collaboration with the director.

JEFFREY WALKER / DC THEATRE ARTS