I’ve been looking forward to seeing Lucas Hnath’sA Doll’s House, Part 2 for a couple of years. The announcement that the Broadway hit’s DC premiere from Round House Theatre would star the great Holly Twyford as Nora? Music to my ears.
In this week’s Washington City Paper, I try to diagnose why Nicole A. Watson’s production is so bloodless.
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.
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.
Given that Aaron Posner’s 2009 production of Tom Stoppard’sArcadia 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 Americaearned 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 →
Sean Meehan, James Seol, and Tim Getman in “Zombie.” (Stan Barouh)
Brandon McCoy, James Whalen, Laura C. Harris, and Rupert Danny Gavigan in “NSFW.” (Danisha Crosby)
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.