Feeling compelled to write a play about war or genocide? You’ve got your work cut out for you, but God bless. Feel compelled to turn your frustration over how hard it is to write a good play about war or genocide into a play? Please stop. A lot of things are about you, but not everything.
Woolly Mammoth’s American premiere of Chilean playwright Guillermo Calderón’s Kiss is not as bad as Jackie Sibblies Drury’s We Are Proud to Present, because nothing I’ve ever seen on a stage is as myopic and offensive as Jackie Sibblies Drury’s We Are Proud to Present. But it ain’t good. I break it down in today’s Washington City Paper, available wherever finer alt-weeklies are given away gratis.
Posted in theatre
Tagged Bertolt Brecht, Gabriela Fernandez-Coffey, Guillermo Calderón, Joe Mallon, Matt Torney, Shannon Dorsey, Staceyann Chin, Studio Theatre, Tim Getman, Washington City Paper, Woolly Mammoth Theatre Company, Yury Urnov
I am a big, unapologetic fan of 2012’s Jack Reacher, and the shrugging reviews I’ve seen of its new follow-up, Never Go Back, insult the original with their baffling assertion the new one is just as good. It’s not remotely as good. The crispness of the action stuff, the weird jokes, the superb supporting players; the new one has none of that. Cobie Smulders is great, but she’s not exactly underexposed like Reacher‘s deep bench—Richard Jenkins and David Oyelowo and Jai Courtney and Werner goddamn Herzog—was in 2012. We did not know then how ubiquitous Courtney would become in shitty sequels to 80s classics. Or that Rosamund Pike’s stock would rise so fast with Gone Girl. Continue reading
Here, for NPR, is my rough accounting of The Accountant, a very strange action drama. It’s basically Good Jason Bourne-ing, and yet still more fun than Jason Bourne.
I ride public transit. Every day. And at the risk of saying a deeply male-privileged thing, I enjoy it. Decrying the crumbling state of Metro is—like paying federal taxes while being denied voting representation in Congress—a part of life in Our Nation’s Capital, and it is indeed embarrassing that what is ostensibly the seat of power on Earth has such an easily stymied subway system, one that now shuts down at midnight even on weekends. But my commute is short, six stops, and the number of times I’ve missed having to sit in traffic every day since I moved to DC 11 years ago is exactly zero. Zero times.
I love people-watching on the subway and the bus. I especially like to peek at what they’re reading. This is becoming more difficult as Kindles and other tablets replace paper books, but if I see that someone has a book I feel compelled to angle for a glimpse of the cover.
Sometimes a specific person will catch my eye for no easily identifiable reason—and sometimes for the most obvious, lizard-brain reason. Continue reading
Lemme tell ya, people: It was much easier to figure out why Tony Kusher’s most recent play is lousy than it was to try to figure out why Angels in America, the epic masterpiece that shall be his legacy, is so good. You have countless other, more reputable sources on that, of course. I was just writing about the show’s latest and largest local revival, the product of a Marvel Team-Up between Olney Theatre Center and Round House Theatre.
While researching this review I discovered that Mike Nichols’ 2003 HBO miniseries of Angels in America earned four-stars-out-of-four for its artistic merit and four-for-four for its depiction of the nursing profession on the website The Truth About Nursing. Continue reading
Posted in theatre
Tagged Dawn Ursula, Jason Loewith, Kimberly Gilbert, Mitchell Hebert, Olney Theatre Center, Round House Theatre, Ryan Rilette, Sarah Marshall, Thomas Keegan, Tony Kushner, Washington City Paper