Tag Archives: Holly Twyford

Despite Its Pedigree, A Doll’s House, Part 2 Is a Fixer-Upper

Holly Twyford as Nora Helmer, 15 years after that door-slam rocked the 19th-century world. (Kaley Etzkorn)

I’ve been looking forward to seeing Lucas Hnath’s A Doll’s House, Part 2 for a couple of years. The announcement that the Broadway hit’s DC premiere from Round House Theatre would star the great Holly Twyford as Nora? Music to my ears.

In this week’s Washington City Paper, I try to diagnose why Nicole A. Watson’s production is so bloodless.

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Tinker Swinger Playwright Spy: Or, reviewed.

OR 8Given that Aaron Posner’s 2009 production of Tom Stoppard’s Arcadia at the Folger Theatre, starring Holly Twyford and Erin Weaver (and Cody Nickell and Eric Hissom) remains one of my favorite theatrical experiences, it’s a cinch I’d be susceptible to Posner’s reteaming with Twyford and Weaver in Or, Liz Duffy Adams’ erudite farce about seminal British playwright Aphra Behn. Here’s my Washington City Paper review.

Bad Times, Good Times: Studio’s Cloud 9 and Constellation’s Urinetown, reviewed.

Studio Theatre's "Cloud 9" (Teresa Wood)Constellation Theatre Company's "Urinetown."

For various critic-related, theater company-related, and publication-related reasons, my reviews of Studio Theatre’s production of Caryl Churchill’s anticolonial sex romp Cloud 9 and Constellation Theatre Company’s new production of the Y2K-era Greg Kotis-Mark Hollman musical Urinetown have taken a long time to see print. But they’re in this week’s Washington City Paper, and online, too.

2 Midsummer 2 Dreamz

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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.

On Around Town, talking Sex with Strangers, Julius Caesar, and How We Got On

For more on how abysmal I am at looking into a camera and smiling when someone says my name, we take you now to the studios of WETA, where I was pleased to join Around Town host Robert Aubry Davis and Washington Post arts writer Jane Horwitz last week for very brief discussions of three shows I recently reviewed for the Washington City Paper, starting with my favorite of 2014, Signature Theatre’s production of Laura Eason‘s Sex with Strangers.

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The Good Books: Sex with Strangers and Elmer Gantry, reviewed.

This is my last pair of Washington City Paper theatre reviews to be edited by departing managing editor Jonathan L. Fischer, who as I mentioned last week is moving on to become a senior editor at Slate. I’ll miss having him edit me every week but I know he’ll do great things there. Godspeed, Jon.

Mourning Edition: Edgar and Annabel, reviewed.

Maboud Ebrahimzadeh and Emily Kester. (Igor Dmitry)

Maboud Ebrahimzadeh and Emily Kester. (Igor Dmitry)

The short version of my Washington City Paper review of Sam Holcroft‘s Edgar and Annabel, now getting its U.S. premiere in a Studio Theatre production directed by the great actor Holly Twyford, is that you have to see it. It synthesizes about a half dozen well-chosen curated cinematic influences while remaining resolutely its own thing.