Tag Archives: Rorschach Theatre Company

The Overlook’ed Hotel: very still and hard to see, reviewed.

Yasmin Tuazon and the company of "very still and hard to see." (C. Stanley Photography)

Yasmin Tuazon and friends. (C. Stanley Photography)

I often admire the work Rorschach Theatre Company does, but I struggled with their latest offering, an atmospheric but impenetrable production of Steve Yockey’s horror anthology very still and hard to see. My review is in today’s Washington City Paper.

Advertisements

Mucho Mistrust, Love’s Gone Behind: Rorschach’s Glassheart, reviewed.

Megan Reichelt and Lynette Rathnam.

Megan Reichelt and Lynette Rathnam.

That’s a refrain from Blondie‘s “Heart of Glass,” by the way. Who knew? Not me.

I’m of the opinion that Reina Hardy‘s spin on Beauty and the Beast, Glassheart, is an undercooked play, but the cast of Rorschach Theatre’s production is doing admirable work. My review is in today’s Washington City Paper.

Rorschach’s The Minotaur: Reflections in a Bull’s Eye

Sara Dabney Tisdale and David Zimmerman play half-human half-siblings

Sara Dabney Tisdale and David Zimmerman play half-human half-siblings

There’s at least one good reason to see Rorschach Theatre’s co-world premiere production of Anna Ziegler’s The Minotaur: the eponymous beast his own surprisingly rational, philosophical, well-spoken self. I review the show in today’s Washington City Paper.

Toad to Redemption: Rorschach’s After the Quake, reviewed

Dylan Myers plays a giant toad (Photo: C. Stanley)

Rorschach Theatre’s great Jessi Burgess-directed version of The Bard of Avon was one of the first plays I saw in DC after I moved back here from Los Angeles near the end of 2005. I’ve kept tabs on that company’s work since then. I’ve always admired their ambition, even when I haven’t loved the shows. I was not at all a fan of Living Dead in Denmark, the last piece I saw from them, more than two years ago, but I was always pulling for them to overcome their venuelessness and other troubles and make a strong comeback. That’s what their new production of After the Quake is, as I aver in today’s Washington City Paper.

“Denmark,” Undead on Arrival

Amy Quiggins as Ofelia.

Amy Quiggins as Ofelia.

Years ago, when he started making movies in the United States, the great director of Hong Kong action films John Woo enumerated in an interview the many similarities between the brand of hyperkinetic shoot-‘em-ups in which he specialized, and musicals.

There’s nothing that revealing in director/fight choreographer Casey Kaleba’s production of playwright/fight choreographer — you begin to see the problem — Qui Nguyen’s Living Dead in Denmark, which picks up the story of Hamlet 1,828 days later. Elsinore has been overrun by zombies, and the self-slaughtering Ofelia (a limber Amy Quiggins) finds herself, like Jean Grey, mysteriously resurrected. Continue reading

Rorschach’s Brainpeople preview’d

PH2009062501332

I am, generally speaking, a fan of Rorschach Theatre Company. I don’t love everything they’ve done, but I love their ambition. Here’s my preview of their new production of Jose Rivera’s Brainpeople, which’ll be in tomorrow’s Weekend section.