Tag Archives: play reviews

Woolly Mammoth’s Hir and Rick Foucheux’s possibly-career-capping Avant Bard King Lear, reviewed.

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My review of Woolly Mammoth Theatre Company’srich 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.

Taking Trump Literally: Building the Wall, reviewed.

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Robert Schenkkahn’s Building the Wall, a terrifyingly plausible future-history of the Trump Administration that Forum Theatre has scrambled to shoehorn into their season, is a cry of warning that requires little suspension of disbelief.

I saw the show at Arena Stage last week in the first part of its bifurcated, two-venue run. It’s at Forum’s Silver Spring performance space May 18-17. Go. My review is in this week’s Washington City Paper, along with one of The Shakespeare Theatre’s Company’s more-is-less Macbeth.

Court Disorder: Roe, reviewed.

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My review of Lisa Loomer’s Roe — an “openly didactic wiki-play” that was never meant to be as timely as it is — is in this week’s Washington City Paper.

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Kitchen-Sink Drama: The Gabriels: Election Year in the Life of One Family, reviewed.

Hungry<br /> Public Theatre<br /> LuEster<br /> HUNGRY<br /> Written and Directed by Richard Nelson<br /> Featuring Meg Gibson, Lynn Hawley, Roberta Maxwell, Maryann Plunkett, Jay O. Sanders, and Amy Warren<br /> Sets &amp; Costumes Susan Hilferty<br /> Lighting Jennifer Tipton

Amy Warren, Maryann Plunkett, Lynn Hawley, and Meg Gibson in “Hungry” at the Public Theater, March 2016.

Notice is posted: My review of playwright/director Richard Nelson’s three-play cycle The Gabriels, which I took in during a single nine-hour period at the Kennedy Center last Sunday, is in this week’s Washington City Paper.

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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.

Be Brief, I See into Thy End: Fear, reviewed.

Jennifer J. Hopkins, Tom Carman, and Vince Eisenson in "Fear."

I had the good fortune to interview Star Trek’s resident alien linguist Marc Okrand this week, for a video that’ll posting next week as part of Air & Space / Smithsonian’s coverage of Trek’s 50th birthday. I met Marc through his involvement in DC theatre. After the shoot, we got some coffee and talked about—well, okay, yes, about his work on various Trek movies mostly, again, some more. But we also discussed how much we both enjoyed writer/director Kathleen Akerley’s ambitious new play FEAR, which I review in this week’s Washington City Paper.

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Sock Pulpit: Hand to God, reviewed.

Liam Forde in "Hand to God" at Studio Theatre. (Amy Horan)

My review of Studio Theatre’s terrific production of Robert Askins’ Broadway hit Hand to God is in today’s Washington City Paper.