Category Archives: theatre

The Overlook’ed Hotel: very still and hard to see, reviewed.

Yasmin Tuazon and the company of "very still and hard to see." (C. Stanley Photography)

Yasmin Tuazon and friends. (C. Stanley Photography)

I often admire the work Rorschach Theatre Company does, but I struggled with their latest offering, an atmospheric but impenetrable production of Steve Yockey’s horror anthology very still and hard to see. My review is in today’s Washington City Paper.

Cheks Mix: Vanya and Sonia and Masha and Spike & Uncle Vanya, reviewed.

We’ve got an An-ton of Chekhov in DC just now, what with Arena Stage doing Christopher Durang’s Tony Award-winning, Chekhov-inflected Sonia and Masha and Vanya and Spike, while Round House Theatre has put together a sublime new Uncle Vanya, working from Pulitzer Prize winner Annie Baker’s recent translation of the play.

I review both of those in today’s Washington City Paper. I have seen Live Art DC’s staged-in-a-bar Drunkle Vanya yet, but it’s stumbling distance from my apartment so I should find the time.

FURTHER READING: My 2010 review of Baker’s Circle Mirror Transformation. My 2011 review of Sydney Theatre Company’s Liv Ullmann-directed, Cate Blanchett and Hugo Weaving-starring Uncle Vanya. My 2012 review of Baker’s The Aliens. My 2013 review of Aaron Posner’s Stupid Fucking Bird, and its follow-up, from earlier, this year, Life Sucks, or the Present Ridiculous. Surely that’s more than enough.

Video

On Around Town, talking Laugh, Man of La Mancha, The Originalist, and Soon.

Screen Shot 2015-04-20 at 1.02.20 PMMy regimen of smiling and sentence-speaking practice continues as I join host Robert Aubry Davis and Washington Post arts writer Jane Horwitz for another Around Town panel discussion of what’s happening on stage here in Our Nation’s Capitol and its close suburbs. In this batch of videos, which have also been airing irregularly on your public television, we discuss three shows I reviewed for the Washington City Paper and one I didn’t: Beth Henley’s homage to silent film comedies Laugh, the Shakespeare Theatre’s new production of the classic musical Man of La Mancha, Arena Stage’s world premiere play about divisive Supreme Court Justice Antonin Scalia, The Originalist, and Soon, a new musical about the end of the world, kind of, at Signature Theatre.

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Judgment Days: Signature Theatre’s Soon, reviewed.

Alex Brightman and Jessica Hershberg in "Soon." (Teresa Wood)My review of all-rounder Nick Blaemire’s world premiere apocalypse musical Soon is in today’s Washington City Paper. Or you can save an already-killed tree and read it here.

 

An Imperative, Not a Noun: Beth Henley’s Laugh, reviewed.

Creed Garnick (Roscoe) and Helen Cespedes (Mabel). Photo: Igor Dmitry.

Pulitzer Prize-winner Beth Henley‘s new play Laugh is not like her other plays. It’s wacky. How you feel about wacky will be a better predictor of your experience than you feel about Henley.

My Washington City Paper review is here.

The Hard Sells: Back to Methuselah, Part 2 and Kid Victory, reviewed.

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In today’s snow-day edition of the Washington City Paper, I review the second installment in Washington Stage Guild’s three-part, three-year presentation of George Bernard Shaw‘s Back to Methuselah and of the world-premiere John Kander-Greg Pierce musical Kid Victory. Around Town videos wherein Robert Aubry Davis, Jane Horwitz, the gigantic lapels of my shirt, and I dissect these differently taxing shows are here and here.

On Around Town, talking King Hedley II, Mary Stuart, and Cherokee

Screen Shot 2015-02-26 at 3.29.40 PM On this trio of Around Town discussions, host Robert Aubry Davis, Washington Post arts writer Jane Horwitz and I dissect Arena Stage‘s powerful King Hedley II, Woolly Mammoth‘s meandering Cherokee, and Folger Theatre‘s intriguing Mary Stuart. (My Washington City Paper reviews of are here, here, and here, respectively.) I’m sorry my hair wasn’t as concise and insightful on this day as I strive at all times for it to be. Continue reading