I’ve been looking forward to seeing Lucas Hnath’sA 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.
Given that Aaron Posner’s 2009 production of Tom Stoppard’sArcadia 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.
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 9and 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.
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.
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.
Luigi Sottile and Holly Twyford in Signature Theatre’s “Sex with Strangers.”
Mary Kate Morrissey, Charlie Pollack, and Jessica Lauren Ball with the ensemble of “Elmer Gantry.”
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.
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.
In today’s City Paper, I review the second entry in the Studio Theatre’s Lab Series for new plays, Bryony Lavery’s Dirt. She wrote the masterfully chilling unsettling kiddie-killer drama Frozen, which played at Studio back in 2006. She also wrote Beautiful Burnout, a boxing play that I’m eager to see because, well, I like stories that involve boxing for the same reason I love to box: metaphors for the bruising, thrilling experience of life itself don’t come any clearer.
I was a big admirer of Studio’s production of the first Studio Lab show, Duncan Macmillian‘s Lungs, which was at Studio at this time last year. Dirt has some thematic congruity with that play, but it isn’t quite as surefooted, at least not yet. There’s some wastage. But the good stuff is very good. Holly Twyford elevates everything she’s in and DC newcomer Natalia Payne is an actor I hope we’ll start seeing all over the place. She’s phenom-mana.Continue reading →
Holly Twyford is a wounded photojournalist (SCOTT SUCHMAN)
The Studio Theater has kicked off 2012 right with a fine production of Donald Margulies’s Time Stands Still, a drama about two journalists’ uneasy return to domesticated life after separate injuries send them home from the field.
What I ran out of room to say in my Washington City Paper review is that the book the character played by Greg McFadden starts working on during his convalescence, an examination of the political subtext of horror cinema, sounds an awful lot like Shock Value, the one published by the New York Times’s Jason Zinoman — son of Studio Theater founder Joy Zinoman — last summer. Continue reading →