Tag Archives: Keegan Theatre

All that (Inventor of) Jazz: Jelly’s Last Jam and The Lonesome West, reviewed.

My reviews of Signature Theatre’s new production of George C. Wolfe and Susan Brikenhead’s early-90s Jelly Roll Morton bio-musical Jelly’s Last Jam, and Keegan Theatre’s production of Martin McDonagh’s late-90s black comedy The Lonesome West, are in today’s Washington City Paper.  Notice is served.

Arboreal Talk: Keegan Theatre’s The Magic Tree and Molotov Theatre’s Lovecraft: Nightmare Suite, reviewed.

Brianna Letourneau and Scott Ward Abernethy in Keegan Theatre's "The Magic Tree."

In this week’s Washington City Paper, available wherever Washington’s free alt-weekly is sold, I review the well-performed Keegan Theatre production of Ursula Rani Sarma’s perplexing The Magic Tree, plus Molotov Theatre’s Lovecraft: Nightmare Suite, adapted from a half-dozen short stories by the celebrated author of chillers, Hey Probably Lovecraft.

Darkness on the Edge of Town: The Woman in Black, reviewed.

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I quite liked Keegan Theatre‘s production of Susan Hill and Stephen Mallatratt‘s ghost story The Woman in Black. No arts section in this week’s City Paper, so my review is web-only.

Shock and Law: Keegan Theatre’s A Few Good Men, reviewed

Few Good Men Keegan

Ubiquitous director Jeremy Skidmore‘s tenacious production of A Few Good Men, the play that gave us Aaaron Sorkin, cuts a dashing figure in its dress whites. Reviewed in this week’s Washington City Paper, available wherever finer alt-weeklies are given away for free.

(Severed) Hands Across America: Keegan’s A Behanding in Spokane and Studio’s 4,000 Miles, reviewed.

The Broadway cast of "A Behanding in Spokane" in 2010.

The Broadway cast of “A Behanding in Spokane” in 2010: Christopher Walken, Sam Rockwell, Zoe Kazan, Anthony Mackie.

In this week’s Washington City Paper, I review the local premiere of Martin McDonagh’s A Behanding in Spokane and reminisce uncomfortably about the show’s 2010 Broadway debut, which I saw twice on my way to the realization that I don’t like the play very much. I also review Studio Theatre’s terrific production of Amy Herzog’s sublime 4,000 Miles. Read all about it.

Spectral Analysis: Kegan Theatre’s The Weir and Basra Boy, reviewed

Here’re my reviews of Keegan’s current two-fer of a recent (1997) Irish play and a brand-new one, Conor McPherson’s The Weir and Rosemary Jenkinson’s Basra Boy, respectively. I was pretty hard on their production of Golden Boy a few months back, so I’m glad these were better.

Coffee’s for Closers

glengarry

I talked to Jeremy Skidmore about his Keegan Theatre revial of David Mamet’s classic of manly desperation, Glengarry Glen Ross. Haven’t seen the production yet, but Celia Wren seemed to like it.

A couple days after I filed this, the new Fall Out Boy album came to me for review in what it turns out will be my final installment of Media Mix (as that part of the paper is going away come the new year), complete with a tune called “Coffee’s for Closers.” No obvious connection to the play, but perhaps I haven’t listened closely enough to Fall Out Boy. There is always that risk.

(Yes, I am well aware that All My Sons is by Arthur Miller and not David Mamet.)