Out director and actor Ian Anthony Coleman is a familiar face on the D.C. theater scene. Always busy, very involved in the project at hand, but never without an eye on the long game. 

When the Blade spoke with Coleman two summers ago, his ambitious career objective was to become an artistic director and change maker. Those goals have remained unchanged

What’s different is he’s leaving Washington and entering a fully funded MFA program at University of California, San Diego (UCSD) where he’ll study direction as part of a prestigious drama program ranked one of the best in the country. 

“Out of over 100 applicants, only one director was accepted this year and that’s me,” says Coleman understandably thrilled. (He heads west on Aug. 15, two days after his 35th birthday.)

As an undergrad at Mellon University in Pittsburgh he earned a B.S. in international politics and French. But a passion for drama smoldered within. 

After graduating, he returned to his native D.C. and devised a plan based on the success of other local young actors. By getting a foot in the door at smaller area companies, he was able to hone his craft, and was soon recognized as a young baritone who could also act and dance. Work at larger theaters followed including Olney Theatre Center (“Beautiful”), Signature Theatre (“The Color Purple”, “Grand Hotel”), and numerous others. 

More recently, he’s added direction to his resume with musicals at the popular Montgomery College Summer Dinner Theatre (“Footloose,” “Grease,” “A New Brain”) and several new works at Catholic University. He’s also held essential education positions as performing arts director at Barrie School, a progressive independent school in suburban Maryland, and as teaching artist with Round House Theatre. 

Recently, he took some time away from preparing for the big move to share thoughts on his latest news. 

WASHINGTON BLADE: Congrats, Ian. It sounds like the competition was fierce.  

IAN ANTHONY COLEMAN: One of the most intense pressure cookers that I’ve ever been in. The selection process was a lot. For the final round interview there were four of us in an eight-hour process. It was intense.

BLADE: Did your DMV experiences prepare you for the challenge?

COLEMAN: Yes, D.C. has been great and offered me many opportunities, first as an actor and later as a director mostly at the college level. I’m ready to expand what’s possible. I’m eager for new challenges and new networks, and to be taken serious for my talent as a director.  

BLADE: Was this next step planned or a little unexpected? 

COLEMAN: A bit of both. My idea was to take my savings and move to L.A. where I’d try get an agent and make it happen as an actor. Then COVID hit. 

So, I stayed here and focused on directing. Increasingly I began to feel that directing aligned with my strengths, capitalizing on my leadership skills. 

But I still wanted to try the West Coast, so I began looking at programs. I’d been working at Round House a long time and knew people there that got into UCSD’s M.F.A. program for acting or playwriting. I thought I’d try directing. 

BLADE: Did you feel confident about applying?

COLEMAN: I knew the chances were slim but I felt I might be the one. I collected recommendations. Asked directing mentors like Timothy Douglas [and others] to look at my portfolio. I practiced my presentation, a five-minute pitch. My ex helped with my personal statement and encouraged me to be fully authentic and not to present a sanitized version of myself and what I want to do. I think that helped a lot.

BLADE: So, what sealed the deal?

COLEMAN: I think my ability to stay true to myself under pressure. And that’s entirely due to my experience as an actor. I can put myself out there with the possibility of rejection. 

BLADE: What do you hope to find at UCSD?

COLEMAN: I’ve been fortunate to work on big musicals, campy comedies, and coming-of-age stories during my time in D.C. I’m really looking forward to defining my voice as a director in grad school. 

I’m especially interested in directing new works and reimagining beloved classics — with a particular focus on plays by Black authors (Branden Jacobs-Jenkins, Suzan-Lori Parks, August Wilson, Dominique Morisseau) and stories centered on Black protagonists.

My first major task has been compiling a list of shows I’d like to work on at UCSD, so I’m deep in reading mode right now. But I’m grateful for the opportunity to spread my wings a bit more as a director and the freedom to explore new things.

‘Apropos of Nothing’
Through August 10
Keegan Theatre
1742 Church St., N.W.
$59
Keegantheatre.com

“Apropos of Nothing,” playwright Greg Kalleres’s sitcom inspired comedy making its D.C.-area debut at Keegan Theatre in Dupont, strives to examine the highs and lows of romantic relationships. How well it succeeds is debatable. 

Comprised of numerous scenes, the play is uneven – laugh-out-loud funny sometimes and other times it comes up crickets. At 90 minutes, it feels longer, but mercifully it’s buoyed by a good five-person cast determined to move the show along. 

We’re introduced to its characters in a quick series of two hander interactions. The most illuminating bit takes place between Owen, played by Ryan Sellers, and Dave (Dominique Gray). Drinking and partying at a reception, Owen makes an intimate confession to Dave, a man he barely knows, blithely admitting that he’s in love with Lily (Irene Hamilton), the wife of his best friend Martin (Justin Von Stein). As luck would have it, Martin is also a close friend of Dave. 

In no time flat, everyone in Owen’s friend group is made aware of his confession including the object of his affection Lily, and his own live-in girlfriend Rebecca (Emily Erickson). It’s a mess.

Another revealing scene features Rebecca. She’s a college professor who’s involved in a rather tepid affair with Jacob (Drew Sharpe), an annoying student academically obsessed with irony and cliché. This is undoubtedly the least interesting of the play’s featured lukewarm hookups, but nonetheless sets the stage for more madness. 

Directed by Ray Ficca, “Apropos of Nothing” unfolds in various barrooms, living rooms, and an E.R. waiting room. Designed by Josh Sticklin, the set is busy. Maybe too busy. And despite the play’s rampant corny and sometimes broad comedy, each of the cast’s players has their own insightful and witty moments.

Sellers, best known (to me) for his wonderful Synetic Theater movement-based works, here displays a flare for a different kind of comedy, garnering laughs with dry humor and deadpan rejoinders. His is an enjoyable performance. 

The play has its own sitcom feel and the design is created with that in mind. From the beginning there are purposeful noises of direction and backstage crew with an ongoing laugh track. Between scenes there’s what sounds like TV theme show music. While it doesn’t quite capture the excitement of a taping before a live studio audience, it’s interesting, fun, and adds a little something to the production. 

Kalleres’s writing delves into the arc of relationships with interesting results. The couples aren’t particularly invested in their partners. Martin is kind of a doltish dude who wants to do his own thing. Lily is wishy washy. Rebecca isn’t committed. Owen is trying to make something work. It seems that with even the most minimal effort they might save their failing partnerships. 

Selfish, feckless, and confused, none of the characters are terribly likeable, intentionally written to be unlikable in the Seinfeld tradition, I think. I hope.  

Located on leafy Church Street, N.W., just a half block away from JR.’s, the intimate Keegan Theatre is recently renovated, comfortable, and coolly air conditioned. It’s a company that presents a wide range of interesting works, spanning from familiar to locally unseen plays.   

“Apropos of Nothing” ends a little too neatly. Ultimately, the action feels tied up with a sweet bow. Perhaps something more rough or unexpected might have seen the show out more memorably. 

With all the fun and half the hassle, staycation has a lot going for it, and the performing arts can be a big part of the experience. Here’s some of what’s out there this summer.  

At Wolf Trap, the summer program is bursting with song, dance, and laughs. And if you’re quick, you can catch the sardonic wit of gay humorist David Sedaris in his one-night only show “An Evening with David Sedaris” on July 19.  

Pink Martini is bringing its 30th anniversary tour to Wolf Trap on July 29. The self-described “tiny orchestra” known for its cosmopolitan musical stylings, features vocalists China Forbes and Storm Large along with special guest out radio journalist Ari Shapiro.

Other shows slated for the Vienna, Va., farm park include Broadway stars Sutton Foster and Kelli O’Hara accompanied by the National Symphony Orchestra for an evening of showstoppers by Rodgers and Hammerstein, Sondheim, Cole Porter, Jason Robert Brown, and Joni Mitchell. (8/1) Wolftrap.org 

Perfectly timed for summer, Studio Theatre presents “Wipeout” (through July 27). Playwright Aurora Real de Asua’s beach-set story looks to be a promising 110 minutes of humor and poignant moments. 

In “Wipeout,” Claudia, played by terrific D.C. favorite Naomi Jacobson, treats herself and her two closest girlfriends to an early birthday present of surf lessons. 

Coached by “surf bro” instructor Blaze (played by handsome actor Alec Ludacka), Claudia is determined to slide into her golden years “catching some waves, and settling some scores.” 

Olney Theatre presents a fantastic, queer friendly summer program centered mainly around its open-air Root Family Stage (7/31-8/24). 

Highlights include hilarious out actor/singer Tituss Burgess in concert on Aug. 7, as well as the U.S. Premiere Concert presentation of “To Wong Foo: The Musical” (8/21) and “Just Arts: From Stonewall to RuPaul Drag Extravaganza” (8/24) featuring big name drag performers Lala Ri and Latrice Royale. 

For those looking to beat the heat indoors, Olney has Synetic Theater performing its wordless version of “A Midsummer Night’s Dream” through Aug. 10. 

Replete with fairies, a fantastical forest, star-crossed lovers, and an actor transformed into a donkey, Synetic’s take on the Bard’s enchanting, Athens-set rom com is directed by Paata Tsikurishvili. Olneytheatre.org 

If kids (4 years and up) figure into your staycation plans, a trip to Bethesda’s Imagination Stage may be just the ticket. “Dory Fantasmagory” (through Aug. 3) based on the children’s book by Abby Hanlon and adapted to the stage by John Glore, explores family dynamics while remaining both imaginative and fun. 

“It’s tough being the youngest. Dory’s siblings won’t play with her and there are monsters to battle all over the house, like the hair-raising Mrs. Gobble Gracker. With the help of her fairy godfather, Mr. Nuggy, her monster-friend, Mary, and her mighty imagination, Dory sets out to win what she wants most: her family’s attention.” 

Young theatergoers are encouraged to come in wacky outfits in the spirit of Dory’s playful style, and pajama Saturdays are also encouraged. Imaginationstage.org 

Young audiences may also enjoy “The Lightning Thief” (through Aug. 17) presented by Adventure Theatre in Glen Echo Park. With music and lyrics by Rob Rokicki, this dynamic musical adaptation of Rick Riordan’s bestselling book opened on Broadway in 2019. 

Here’s the gist of the story. “When teenager Percy Jackson discovers he’s a demigod, he and his friends embark on an epic journey to find Zeus’ missing lightning bolt and prevent a war among the gods.” Kurt Boehm directs. Adventuretheatre-mtc.org

At Signature Theatre, there’s some laid-back cabaret with “Sailing: Yacht Rock” (July 22-Aug. 10) featuring terrific talents Deimoni Brewington and Tracy Lynn Olivera. 

Relax and possibly reminisce with chill tunes like “Brandy (You’re a Fine Girl),” “Escape (The Pina Colada Song)” and “What a Fool Believes.” It’s a chance to enjoy and revisit the sounds of Christopher Cross, TOTO, and the Doobie Brothers. Sigtheatre.org 

Washington National Opera (WNO) presents Opera in the Outfield (Aug. 23). The WNO invites theater and baseball fans to the Nationals Park for a free broadcast of Gershwin’s gorgeous classic “Porgy and Bess.” The screening starts at 6:30 p.m. 

At the Kennedy Center, summer staycation wraps up with “Parade” (Aug. 19-Sept. 7), a powerful and celebrated 2023 Broadway revival musical. It’s based on the true story of Leo Frank, a Jewish factory superintendent in Atlanta wrongly accused and convicted of the murder of 13-year-old Mary Phagan in 1913. Co-conceived by the legendary Harold Prince, the production is a collaboration of some Broadway heavyweights including out director Michael Arden, Alfred Uhry (book), Jason Robert Brown (music & lyrics). Kennedy-center.org