After the customary late summer lull, I’m back on the theater beat. Last week’s Washington City Paper featured my reviews of two plays that first appeared in 2015, now making their regional premieres Branden Jacobs-Jenkins’ stunner Gloria, at Woolly Mammoth, and Small Mouth Sounds by Bess Wohl, at Round House.
FURTHER READING: My 2013 City Paper profile of Branden Jacobs-Jenkins is here.
Posted in theatre, Uncategorized
Tagged Alyssa Wilmoth Keegan, Bess Wohl, Branden Jacobs-Jenkins, Kip Fagan, Maboud Ebrahimzadeh, Megan Graves, Round House Theatre, Ryan Rilette, Washington City Paper, Woolly Mammoth Theatre Company
You can see for yourself what a business-casual mood I was in the day Robert Aubry Davis, Jane Horwitz, and I convened at WETA to shoot a fresh batch of Around Town segments. Perhaps you are correct that I should have chosen a shirt that is not the same shade as our studio backdrop. Hey, I don’t tell you how to do your part-time job.
I reviewed Ford’s Death of a Salesman and Constellation’s The Wild Party for the Washington City Paper. For In the Heights, the musical I herein refer to as “Lin-Manuel Miranda’s THX-1138,” I didn’t write about it. I just bought four more tickets the morning after to take my folks. Anyway, because WETA posts videos in a format that WordPress can’t embed, I gotta give you the links: Death of a Salesman, In the Heights, The Wild Party.
Posted in theatre, video
Tagged Constellation Theatre Company, Craig Wallace, Danny Gavigan, Farrell Parker, Kari Ginsburg, Kimberly Schraf, Lin-Manuel Miranda, Olney Theatre Center, Robert Aubry Davis, Round House Theatre, Thomas Keegan, WETA Around Town
Given that Aaron Posner’s 2009 production of Tom Stoppard’s Arcadia at the Folger Theatre, starring Holly Twyford and Erin Weaver (and Cody Nickell and Eric Hissom) remains one of my favorite theatrical experiences, it’s a cinch I’d be susceptible to Posner’s reteaming with Twyford and Weaver in Or, Liz Duffy Adams’ erudite farce about seminal British playwright Aphra Behn. Here’s my Washington City Paper review.
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
They can’t all be winners, not even shows from playwrights, directors, and actors whose work you often love. Round House Theatre’s new production of Sarah Ruhl’s Stage Kiss was a bigger disappointment to me given its pedigree than was WSC Avant Bard’s Holiday Memories, but I can’t say either one blew by Christmas stockings off. Your mileage may vary.
Brandon McCoy, James Whalen, Laura C. Harris, and Rupert Danny Gavigan in “NSFW.” (Danisha Crosby)
Sean Meehan, James Seol, and Tim Getman in “Zombie.” (Stan Barouh)
Two satires, each alike in indignation. My reviews of Robert O’Hara’s world premiere Zombie: The American at Woolly Mammoth Theatre Company and Lucy Kirkwood’s 2012 NSFW at Round House Theatre are in today’s Washington City Paper, available wherever finer alt-weeklies are given away gratis.
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