Christopher Henley and Brian Hemmingsen.
Allow myself to quote myself: Harold Pinter’s No Man’s Land is a 38-year-old Rubik’s Cube covered in Rorschach blots, a confounding examination of memory and masculinity that resists easy interpretation like an Aikido master shrugging off an unwanted bear hug. I wrestle with that bear — er, WSC Avant Bard’s production of that bear-hug-avoiding Aikido master of a play, that is — in this week’s Washington City Paper.
Posted in theatre
Tagged Brian Hemmingsen, Christopher Henley, Harold Pinter, Tom Prewitt, WSC Avant Bard
John Tweel sits atop a throne of guitars as Hoss.
I struggled with Kathleen Akerley‘s production of Sam Shepard‘s The Tooth of Crime after I saw it last weekend. The play is a fascinating time capsule of how much danger and possibility pop music, and rock and roll specifically, must’ve still had when Shepard wrote it back in 1972. That gives it a charm that partially compensates for the fact the (apparently) postapocalyptic world it’s set in is so cryptic and thinly drawn. Continue reading
Delia Taylor in HAPPY DAYS. Photo: Dru Sefton
My Washington City Paper review of the newly, pun-tastically rebranded WSC Avant Bard‘s production of Samuel Beckett‘s Happy Days is here.
Four years ago I reviewed the National Theatre of England‘s Fiona Shaw-starring production when it played the Kennedy Center.
Posted in Uncategorized
Tagged Delia Taylor, Samuel Beckett, theater, Washington City Paper, WSC Avant Bard
 | Chris on Who? |
 | Rev. Wanda Copeland on Who? |
 | relayar on Making-of documentary The Furi… |
| Rhett Miller of Old… on Live Two Nights Ago: X at the… | |
| Rhett Miller of Old… on Doolittle Me Like That One Mor… |
