Tag Archives: Aaron Posner

Tinker Swinger Playwright Spy: Or, reviewed.

OR 8Given that Aaron Posner’s 2009 production of Tom Stoppard’s Arcadia at the Folger Theatre, starring Holly Twyford and Erin Weaver (and Cody Nickell and Eric Hissom) remains one of my favorite theatrical experiences, it’s a cinch I’d be susceptible to Posner’s reteaming with Twyford and Weaver in Or, Liz Duffy Adams’ erudite farce about seminal British playwright Aphra Behn. Here’s my Washington City Paper review.

Sisters of No Mercy: Three Sisters and No Sisters, reviewed.

Caroline Hewitt, Ryan Rilette, William Vaughan, Emilie Krause, Josh Thomas, Craig Wallace, Ro Boddie, and Nick Torres in Three Sisters. Photo- Teresa Wood. Bridget Flanery, Emilie Krause, Ryan Rilette, and Caroline Hewitt (Teresa Wood) .jpg

Studio Theatre is putting on a ballsy experiment for the next month or so, running a new production of Three Sisters and No SistersAaron 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.

Law and Border: District Merchants and El Paso Blue, reviewed.

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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.

2 Midsummer 2 Dreamz

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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.

Faking and Baking: Stage Kiss and Holiday Memories, reviewed.

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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.

The Play’s the Thing, the Thing, and the Other Thing: The Blood Quilt, Jumpers for Goalposts, and Rosencrantz and Guildenstern Are Dead, reviewed.

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.

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.