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
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
Posted in theatre
Tagged Dawn Ursula, Jason Loewith, Kimberly Gilbert, Mitchell Hebert, Olney Theatre Center, Round House Theatre, Ryan Rilette, Sarah Marshall, Thomas Keegan, Tony Kushner, Washington City Paper
Ryan Rilette, Mitchell Hebert, Nancy Robinette, and Mark Jaster in “Uncle Vanya.” (Danisha Crosby)
Sherri L. Edelen, Grace Gonglewski, Jefferson Farber, Rachel Esther Tate and Eric Hissom in “Vanya and Sonia and Masha and Spike.” (C. Stanley Photography)
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.
Posted in theatre
Tagged Aaron Posner, Annie Baker, Anton Chekhov, Arena Stage, Eric Hissom, John Vreeke, Kimberly Gilbert, Mark Jaster, Mitchell Hebert, Nancy Redd, Round House Theatre, The Washington CIty Paper, Washington City Paper
This is why I never wanted to get a real job: Alec Baldwin in “Glengarry Glen Ross: The Motion Picture.”
No stage production of Glengarry Glen Ross feels complete to me without the speech David Mamet added for the movie version, eight years after his play won the Pulitzer Prize for Drama in 1984. But Round House Theatre’s Mitchell Hebert-directed version is solid if not revelatory. Reviewed in today’s City Paper.