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.
Meeya Davis, Nikiya Mathis, Caroline Clay, Afi Bijou. and Tonye Patano in “The Blood Quilt.” (C. Stanley Photography)
Adam Wesley Brown, Ian Merrill Peakes, and Romell Witherspoon in “Rosencrantz and Guildensern Are Dead” (Teresa Wood)
Liam Forde, Kimberly Gilbert, Zdenko Martin, and Michael Glenn in “Jumpers for Goalposts” (Igor Dmitry)
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
Louis Butelli as Feste in Folger’s TWELFTH NIGHT. Photo by Scott Suchman.
No, Elvis Costello has not embarked upon a mandolin tour with Steve Nieve. That’s Louis Butelli, whose performance as Feste is one of the highlights of the Folger Theatre’s new production of Twelfth Night, which I review in today’s Washington City Paper along with Taffety Punk’s spooky The Golem. Grab yourself a copy wherever finer alt-weeklies are given away for free.