My review of Woolly Mammoth Theatre Company’s “rich and fervent” production of Taylor Mac’s family tragicomedy Hir is in this week’s Washington City Paper, along with a shorter one of WSC Avant Bard’s latest King Lear — which just might be the swan song of one of DC’s most venerable actors, the great Rick Foucheux. Pick up a paper copy for old time’s sake.
Posted in pride, theatre
Tagged Christopher Henley, Emily Townley, Frank Britton, Mitchell Hebert, play reviews, Rick Foucheux, Sara Barker, Tom Prewitt, Washington City Paper, Woolly Mammoth Theatre Company, WSC Avant Bard
Julie Garner, Brian Hemmingsen, Scott McCormick, and Maboud Ebrahimzadeh
Julie Garner and Jim Jorgensen
Brian Hemmingsen and Scott McCormick
Patrick Bussink and Maboud Ebrahimzadeh
In today’s Washington City Paper, I review two plays that mull over free will and the existence of God, both of which feature Sigmund Freud as a character. The better of the pair, Stephen Adly Guirgis’ The Last Days of Judas Iscariot, features a towering performance from Frank Britton as Pontius Pilate.
Around 2:15 Tuesday morning, after he’d left the cast party that followed Judas‘ opening-night performance, Britton was assaulted and robbed by four or five unidentified attackers near the Silver Spring Metro stop. He underwent surgery at Holy Cross Hospital to treat a broken cheekbone. Britton does not have medical insurance. A crowdfunding campaign to cover his hospital bills (donate here) has raised over $45,000 so far.
Posted in theatre
Tagged Forum Theatre, Frank Britton, Maboud Ebrahimzadeh, Mark St. Germain, play reviews, Rick Foucheux, Serge Seiden, Stephen Adly Guirgis, Theater J, Todd Scofield, Washington City Paper
Uneasy lies the head that wears the crown, especially if the head connived and murdered its way into it. And if that head belongs to a woman? That’s something else entirely.
To celebrate the opening of its svelte new black box in Rosslyn’s Artisphere complex—a major upgrade from its old digs at the Clark Street Playhouse—the 20-year-old Washington Shakespeare Company has doubled down on British history, preparing concurrent stagings of Richard III and Mary Stuart, Friederich Schiller’s 19th century tale of 16th century royal intrigue.
It’s a truly, er, dynamic duo, in the sense that the plays talk to one another: In Richard, inspired by historical events a hundred years before Shakespeare’s prominence, we have his most outsized malefactor. In Mary Stuart, which looks back on Elizabethan tymes from a vantage point of two centuries (four, if we’re talking about the 2005 Peter Oswald translation used here), we see how it was in Shakespeare’s interest to flex even more artistic license than usual immortalizing Richard as a “hellhound that does hunt us all to death.”
The Bard of Avon was a subject of Queen Elizabeth I, whose legitimacy was contested. It was flattery to the playwright’s sovereign that fueled this depiction of Richard as a beast whose deformity reflected interior corruption, and whose prodigious devilry ultimately served God’s plan to drag England, however bloodily, into a new Golden Age of benign Tudor rule. It would be ungrateful to question the royal credentials of whoever delivered the realm from Richard’s gnarled hands. Oh, was that your grandpappy who did that, my queen? You must be so proud! I can see the resemblance! Continue reading
Posted in theatre
Tagged British history, Frank Britton, Friederich Schiller, Heather Haney, Mary Stuart, Peter Oswald, Queen Elizabeth I, Sara Barker, theater, Washington City Paper, Washington Shakespeare Company