I didn’t know Drew Cortese until I saw him in The Motherfucker with the Hat at Studio Theatre this time last year, but the performance made a powerful impression. He’s in Richard III at the Folger Theatre now. We talked about roads not taken and being the bad guy for a piece in today’s Washington City Paper.
All photos by Jeff Malet, courtesy Folger Theatre.
No one was more excited than I was when the Folger Theatre announced that Drew Cortese — a standout player from Studio’s The Motherfucker with the Hat last year — would play Richard III. The show is good, but not the radical reinvention I’d hoped it might be. Read all about it
in today’s Washington City Paper on the Internet only.
Drew Cortese and Quentin Maré in Studio’s “The Motherfucker with the Hat,” a 2013 highlight. (Teddy Wolff)
We’re wrapping up a highly rewarding and admirably trend-resistant year on DC’s stages, as I aver in this week’s Washington City Paper.
Posted in theatre
Tagged Aaron Posner, Anacostia Playhouse, Bradley Koed, Branden Jacobs-Jenkins, Drew Cortese, If/Then, Mike Daisey, Nathan Louis Jackson, Quentin, Serge Seiden, Studio Theatre, STUPID FUCKING BIRD, THE MOTHERFUCKER WITH THE HAT, The Studio Theatre, The Washington CIty Paper, The Year in Theatre, Washington City Paper, Woolly Mammoth Theatre Company
Drew Cortese and Quentin Maré talk hats.
Embarrassing admission: I didn’t realize until after I’d filed my review of Studio’s superb production of The Motherfucker with the Hat that its playwright, Stephen Adly Guirgis, is the selfsame motherfucker who wrote The Last Days of Judas Iscariot, the best thing I saw on a DC stage in 2008.
Also reviewed: Spooky Action’s Kafka on the Shore, DC’s second Frank Galati-scripted stage adaptation of a Haruki Murakami story or novel in four months. This one is looser and more wobbly than the last one. Your mileage may vary. Continue reading