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
My review of Sorry and Regular Singing, the latter two entries in Richard Nelson’s Apple Family quartet, is in today’s Washington City Paper. I reviewed the the first pair, That Hopey Changey Thing and Sweet and Sad, when the same director and cast staged them here in Washington two years ago. If I’ve little more to say now than I said then, it’s only because the strengths of the magnificent whole are also the strengths of its magnificent component parts.
Posted in theatre
Tagged Elizabeth Pierotti, Kimberly Schraf, play reviews, Richard Nelson, Rick Foucheux, Sarah Marshall, Serge Seiden, Studio Theatre, Ted van Griethuysen, The Studio Theatre, The Washington CIty Paper
Julie Garner, Brian Hemmingsen, Scott McCormick, and Maboud Ebrahimzadeh
Julie Garner and Jim Jorgensen
Brian Hemmingsen and Scott McCormick
Patrick Bussink and Maboud Ebrahimzadeh
In today’s Washington City Paper, I review two plays that mull over free will and the existence of God, both of which feature Sigmund Freud as a character. The better of the pair, Stephen Adly Guirgis’ The Last Days of Judas Iscariot, features a towering performance from Frank Britton as Pontius Pilate.
Around 2:15 Tuesday morning, after he’d left the cast party that followed Judas‘ opening-night performance, Britton was assaulted and robbed by four or five unidentified attackers near the Silver Spring Metro stop. He underwent surgery at Holy Cross Hospital to treat a broken cheekbone. Britton does not have medical insurance. A crowdfunding campaign to cover his hospital bills (donate here) has raised over $45,000 so far.
Posted in theatre
Tagged Forum Theatre, Frank Britton, Maboud Ebrahimzadeh, Mark St. Germain, play reviews, Rick Foucheux, Serge Seiden, Stephen Adly Guirgis, Theater J, Todd Scofield, Washington City Paper
Ted van Griethuysen, Elizabeth Pierotti, Sarah Marshall, Kimberly Schraf, and Rick Foucheux in “That Hopey Changey Thing.” (Photo: Teddy Wolff)
The Studio Theatre is staging two of Richard Nelson‘s four Apple Family Plays, the last of which had its world premiere at the Public Theater in New York only last Friday, in repertory. The pair at Studio are That Hopey Change Thing and Sweet and Sad. My review of both is on Arts Desk now, and will show up in print in next week’s City Paper. Happy Thanksgiving.
Posted in theatre
Tagged Elizabeth Pierotti, Kimberly Schraf, play reviews, Richard Nelson, Rick Foucheux, Sarah Marshall, Serge Seiden, Studio Theatre, Ted van Griethuysen, The Apple Family Plays, The Studio Theatre, The Washington CIty Paper, Washington City Paper
Doyle and Emma and Mash and Sorn
Of the stage productions that’ve moved me most in the five years or so that I’ve been semi-professionally paying attention to theatre in DC, a suspiciously high percentage of those have been directed by Aaron Posner. (His 2009 version of Tom Stoppard’s Arcadia at the Folger Theatre remains my favorite thing that I’ve ever seen in a playhouse.)
Posner is the playwright, not the director, of Stupid Fucking Bird, his-flippant-but-faithful rejiggering of Anton Chekhov’s The Seagull, which opened at Woolly Mammoth Theatre Company this weekend. (Woolly Mammoth founder Howard Shalwitz is its director.) The result is pretty goddamn delightful, as I aver in today’s Washington City Paper, available wherever finer alt-weeklies are given away for free.
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.