To paraphrase the leader of the free world, let me be clear: I liked Theater J’s premiere of Artistic Director Ari Roth’s long-gestating, heavily autobiographical play, Andy and the Shadows. I liked it a lot. It’s too long, its references too scattered and too many, and at the end you feel like you’ve spent your time in the company of a hyperactive (if uncommonly sensitive and articulate) 19-year-old who just will not stop talking, ever. But these are good problems to have. Overreach is better than undereach. And the cast is just tremendous.
The play, as I note, has been around in some form since nearly a decade prior to the publication of Nick Hornby’s novel High Fidelity in 1995, which means it almost certainly also predates Stephen Frears’ Y2K film version of the book.
Nevertheless, the play’s likeness to the movie is sort of uncanny.
My review of the play in today’s Washington City Paper lays out the evidence. Any resemblance to fictional persons, living or dead, is accidental. Continue reading
This is why I never wanted to get a real job: Alec Baldwin in “Glengarry Glen Ross: The Motion Picture.”
No stage production of Glengarry Glen Ross feels complete to me without the speech David Mamet added for the movie version, eight years after his play won the Pulitzer Prize for Drama in 1984. But Round House Theatre’s Mitchell Hebert-directed version is solid if not revelatory. Reviewed in today’s City Paper.
Strain & Tolaydo in Theater J's NEW JERUSALEM.
I’ll just go ahead and admit I hadn’t heard of Baruch de Spinoza, or hadn’t remembered his name from Philosophy 101 a million years ago. But David Ives’s Venus in Fur
was, I think, the best play I saw in DC last year
, so when I had the opportunity to catch Theater J’s current remount of their 2010 production of Ives’s New Jerusalem: The Interrogation of Baruch de Spinoza, I fairly jumped
at the chance.