Tag Archives: Kimberly Gilbert

Sisters of No Mercy: Three Sisters and No Sisters, reviewed.

Caroline Hewitt, Ryan Rilette, William Vaughan, Emilie Krause, Josh Thomas, Craig Wallace, Ro Boddie, and Nick Torres in Three Sisters. Photo- Teresa Wood. Bridget Flanery, Emilie Krause, Ryan Rilette, and Caroline Hewitt (Teresa Wood) .jpg

Studio Theatre is putting on a ballsy experiment for the next month or so, running a new production of Three Sisters and No SistersAaron Posner’s companion play—not in rep but literally on top of one another. I review both in this week’s Washington City Paper.

FURTHER READING: My April 2015 review of Round House’s Uncle Vanya. My January 2015 review of Posner’s Life Sucks, or the Present Ridiculous at Theatre J. My June 2013 review of Stupid Fucking Bird. And my August 2011 review of the Sydney Theatre Company’s Uncle Vanya, starring Cate Blanchett and Hugo Weaving.

The Heaven Over New York: Angels in America, Part I: Millennium Approaches and Angels in America, Part II: Perestroika, reviewed.

Tom Story, Dawn Ursula, and the cast of "Perestroika." (Danisha Crosby)

Lemme tell ya, people: It was much easier to figure out why Tony Kusher’s most recent play is lousy than it was to try to figure out why Angels in America, the epic masterpiece that shall be his legacy, is so good. You have countless other, more reputable sources on that, of course. I was just writing about the show’s latest and largest local revival, the product of a Marvel Team-Up between Olney Theatre Center and Round House Theatre.

While researching this review I discovered that Mike Nichols’ 2003 HBO miniseries of Angels in America earned four-stars-out-of-four for its artistic merit and four-for-four for its depiction of the nursing profession on the website The Truth About Nursing. Continue reading

Personal Is Geopolitical: Chimerica and Women Laughing Alone with Salad, reviewed.

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My review of the U.S. debut of Lucy Kirkwood’s sprawling, ambitious drama Chimerica at the Studio Theatre is in today’s Washington City Paper. Also reviewed: Women Laughing Alone with Salad, a surreal feminist comedy from Sheila Callaghan making its world premiere at Woolly Mammoth Theatre Company. For those keeping score, that’s one great play by a woman that’s not officially part of the Women’s Voices Theatre Festival, and one pretty good play that is. Read those pieces here, or pick up a dead-tree WCP, available wherever finer alt-weeklies are given away gratis — and you don’t even need to have an Amazon Prime subscription! Continue reading

The Play’s the Thing, the Thing, and the Other Thing: The Blood Quilt, Jumpers for Goalposts, and Rosencrantz and Guildenstern Are Dead, reviewed.

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.

Cheks Mix: Vanya and Sonia and Masha and Spike & Uncle Vanya, reviewed.

We’ve got an An-ton of Chekhov in DC just now, what with Arena Stage doing Christopher Durang’s Tony Award-winning, Chekhov-inflected Sonia and Masha and Vanya and Spike, while Round House Theatre has put together a sublime new Uncle Vanya, working from Pulitzer Prize winner Annie Baker’s recent translation of the play.

I review both of those in today’s Washington City Paper. I have seen Live Art DC’s staged-in-a-bar Drunkle Vanya yet, but it’s stumbling distance from my apartment so I should find the time.

FURTHER READING: My 2010 review of Baker’s Circle Mirror Transformation. My 2011 review of Sydney Theatre Company’s Liv Ullmann-directed, Cate Blanchett and Hugo Weaving-starring Uncle Vanya. My 2012 review of Baker’s The Aliens. My 2013 review of Aaron Posner’s Stupid Fucking Bird, and its follow-up, from earlier, this year, Life Sucks, or the Present Ridiculous. Surely that’s more than enough.

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Reality Chekhov: Life Sucks, or the Present Ridiculous, reviewed.

I was excited to see Life Sucks, writer-director Aaron Posner‘s new variation on Anton Chekhov‘s Uncle Vanya, because my love for Stupid Fucking Bird, Posner’s 2013 gloss on The Seagull, was mean and true. And because I tend to like almost everything Posner does. My review is in today’s Washington City Paper. Continue reading

Wig Time: Marie Antoinette, reviewed.

My review of Woolly Mammoth Theatre Company‘s production of David Adjmi‘s Marie Antoinette, starring the great Kimberly Gilbert, is in today’s Washington City Paper, available wherever finer alt-weeklies are given away for free.