Studio Theatre is putting on a ballsy experiment for the next month or so, running a new production of Three Sisters and No Sisters—Aaron Posner’s companion play—not in rep but literally on top of one another. I review both in this week’s Washington City Paper.
FURTHER READING: My April 2015 review of Round House’s Uncle Vanya. My January 2015 review of Posner’s Life Sucks, or the Present Ridiculous at Theatre J. My June 2013 review of Stupid Fucking Bird. And my August 2011 review of the Sydney Theatre Company’s Uncle Vanya, starring Cate Blanchett and Hugo Weaving.
District Merchants, Aaron Posner’s new Reconstruction-era DC gloss on The Merchant of Venice for the Folger Theatre, is an intriguing muddle; GALA Hispanic Theatre’s production of Octavio Solis’ El Paso Blue is a surrealist hoot. Both reviews appear in this week’s Washington City Paper, available wherever finer alt-weeklies are still hanging on.
I spent a midwinter day and evening taking in two, two, two big productions of A Midsummer Night’s Dream, from WSC Avant Bard and the Folger Theatre. I reviewed the experience for this week’s unusually me-heavy Washington City Paper.
Posted in theatre
Tagged Aaron Posner, Adam Wesley Brown, Erin Weaver, Folger Theatre, Holly Twyford, Jenna Berk, play reviews, Randy Baker, The Washington CIty Paper, Washington City Paper, William Shakespeare, WSC Avant Bard
They can’t all be winners, not even shows from playwrights, directors, and actors whose work you often love. Round House Theatre’s new production of Sarah Ruhl’s Stage Kiss was a bigger disappointment to me given its pedigree than was WSC Avant Bard’s Holiday Memories, but I can’t say either one blew by Christmas stockings off. Your mileage may vary.
Liam Forde, Kimberly Gilbert, Zdenko Martin, and Michael Glenn in “Jumpers for Goalposts” (Igor Dmitry)
Adam Wesley Brown, Ian Merrill Peakes, and Romell Witherspoon in “Rosencrantz and Guildensern Are Dead” (Teresa Wood)
Meeya Davis, Nikiya Mathis, Caroline Clay, Afi Bijou. and Tonye Patano in “The Blood Quilt.” (C. Stanley Photography)
My reviews of — in alphabetical order — the new play The Blood Quilt, the debuting-in-the-U.S. play Jumpers for Goalposts, and the postmodern chestnut Rosencrantz and Guildenstern Are Dead, are all in this week’s Washington City Paper. Except for the latter two of the three, which are online-only. Find them via the links above.
Posted in theatre
Tagged Aaron Posner, Arena Stage, Craig Wallace, Folger Theatre, Ian Merrill Peakes, Kamilah Forbes, Katori Hall, Kimberly Gilbert, Kimberly Schraf, Studio Theatre, The Studio Theatre, Tom Stoppard, Tom Wells, Washington City Paper
Ryan Rilette, Mitchell Hebert, Nancy Robinette, and Mark Jaster in “Uncle Vanya.” (Danisha Crosby)
Sherri L. Edelen, Grace Gonglewski, Jefferson Farber, Rachel Esther Tate and Eric Hissom in “Vanya and Sonia and Masha and Spike.” (C. Stanley Photography)
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.
Posted in theatre
Tagged Aaron Posner, Annie Baker, Anton Chekhov, Arena Stage, Eric Hissom, John Vreeke, Kimberly Gilbert, Mark Jaster, Mitchell Hebert, Nancy Redd, Round House Theatre, The Washington CIty Paper, Washington City Paper
Three new Around Town play reviews means three new opportunities to attempt to smile on command and to speak in concise sentences that end rather than trail off. (I’ll keep working on it.) This time, host Robert Aubry Davis and Washington Post arts writer Jane Horwitz and I discuss Studio Theatre‘s Choir Boy, Theater J‘s Life Sucks, Or the Present Ridiculous, and Ford’s Theatre’s The Widow Lincoln. That’s two shows I liked a lot, respectively, plus one I liked, well, more than many others did. (My Washington City Paper reviews are here, here, and here.) I am informed that the Choir Boy video aired on WETA right after Downton Abbey last night. I would’ve worn my sport jacket to the taping had I known that would happen, if not a tuxedo and tails.
February 9, 2015 in theatre
Tagged Aaron Posner, Ford's Theatre, James Still, play reviews, Robert Aubry Davis, Stephen Rayne, Studio Theatre, The Studio Theatre, Theater J, WETA Around Town