My Shakespeare professor at James Madison University, Ralph Cohen, told us Antony and Cleopatra was his favorite Shakespeare play. Robert Richmond’s new production for the Folger Theatre, with Cody Nickell and Shirine Babb in the title roles, took me back to my salad days. I reviewed the show in this week’s Washington City Paper. Individual issues are free but the paper is now for sale. It’s all very confusing.
Cody Nickell and Shirine Babb (Teresa Wood)
Can a working actor get famous in one of Shakespeare’s least-famous plays? In this week’s Washington City Paper, available wherever finer alt-weeklies are given away gratis, I profile the hardworking and versatile titan of stage and stage Mr. Ian Merrill Peakes. He’s currently appearing in the Folger Theatre‘s Timon of Athens, the “Hey Bulldog” of the Shakespearean canon.
As You Like It is my favorite Shakespearean comedy after Twelfth Night, but when the actor playing Orlando can’t hang with the actor playing Rosalind, it prevents this pleasant diversion from being something deeper. I reviewed the Folger Theatre’s production in this week’s Washington City Paper.
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
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)
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
On this trio of Around Town discussions, host Robert Aubry Davis, Washington Post arts writer Jane Horwitz and I dissect Arena Stage‘s powerful King Hedley II, Woolly Mammoth‘s meandering Cherokee, and Folger Theatre‘s intriguing Mary Stuart. (My Washington City Paper reviews of are here, here, and here, respectively.) I’m sorry my hair wasn’t as concise and insightful on this day as I strive at all times for it to be. Continue reading
Posted in theatre, video
Tagged Arena Stage, August Wilson, Folger Theatre, Jane Horwitz, Lisa D'Amour, Mary, Peter Oswald, Queen Elizabeth I, Robert Aubry Davis, WETA Around Town, Woolly Mammoth Theatre Company
My reviews of The Widow Lincoln, a world premiere play from writer James Still at Ford’s Theatre, and of the Folger Theatre‘s new production of Mary Stuart, are in tomorrow’s Washington City Paper, and also right here.
FURTHER READING: My review of Still’s prior Lincoln play for Ford’s, The Heavens Are Hung in Black, from 2009. And my 2010 review of WSC Avant Bard‘s Mary Stuart.
Posted in theatre
Tagged Abraham Lincoln, England, Folger Theatre, Ford's Theatre, Friederich Schiller, James Still, Peter Oswald, presidential history, Queen Elizabeth I, Stephen Rayne, Washington City Paper