Twelfth Night is my favorite Shakespeare play. The Shakespeare Theatre Company’s Ethan McSweeny-directed production is cleverly staged on a set made to resemble an airport, but it left me cold. In my Washington City Paper review, I try to unpack why. Continue reading
Posted in theatre
Tagged Antoinette Robinson, Bhavesh Patel, Derek Smith, Emily Townley, Ethan McSweeny, Hannah Yelland, Heath Saunders, Paul Deo Jr., Shakespeare Theatre Company, Twelfth Night, Washington City Paper, William Shakespeare
I’m putting y’all on notice: My reviews of King Charles III—Mike Bartlett’s marvelous blank verse political drama at the Shakespeare Theatre—and Studio Theatre’s world premiere production of Morgan Gould’s I Wanna Fucking Tear You Apart are in this week’s Washington City Paper.
Lynette Rathnam and Jason B. McIntosh in “When January Feels Like Summer.” (Stan Barouh)
Rick Hammerly as the Contessa, Peter Gadiot as Petruchio, Maulik Pancholy as Katherina, and Oliver Thornton as Bianca in “The Taming of the Shrew.” (Scott Suchman)
Shravan Amin and Jeremy Keith Hunter in “When January Feels Like Summer” (Stan Barouh)
The cast of Shakespeare Theatre Company’s production of The Taming of the Shrew, directed by Ed Sylvanus Iskandar. (Scott Suchman)
The cast and audience at the intermezzo of “The Taming of the Shrew.” (Scott Suchman)
Maulik Pancholy as Katherina and Peter Gadiot as Petruchio in “The Taming of the Shrew.” (Scott Suchman)
Vaughn Ryan Midder and Jeremy Keith Hunter in “When January Feels Like Summer” (Stan Barouh)
Directors have reckoned with the misogyny of The Taming of the Shrew in many ways. Ed Sylvanus Iskandar’s fix — cast only men, and let the female characters express themselves via covers of old songs from Duncan Sheik, a man — is at least, and most, strange. I review Iskandar’s perplexing boys-only Shakespeare Theatre Company Shrew in today’s Washington City Paper.
Posted in theatre
Tagged Cori Thomas, Duncan Sheik, Ed Sylvanus Iskandar, Jeremy Keith Hunter, Mosaic Theatre of DC, play reviews, Serge Seiden, Shakespeare Theatre Company, Vaughn Ryan Midder, Washington City Paper, William Shakespeare
My reviews of the British theatre collective Headlong’s adaptation of George Orwell’s 1984, and Forum Theatre’s new staging of Martin McDonagh’s The Pillowman, are in today’s Washington City Paper. Continue reading
Posted in theatre, Uncategorized
Tagged Bradley Foster Smith, Duncan McMillan, Forum Theatre, George Orwell, Headlong, James Konicek, Jim Jorgensen, Maboud Ebrahimzadeh, Martin McDonagh, Shakespeare Theatre Company
I reviewed the Shakespeare Theatre Company‘s new Ron Daniels-directed Othello, starring Jinn‘s Faran Tahir as the Moor of Venice, for the Washington City Paper. Jonno Roberts’ Iago is the best reason to go.
I couldn’t make the Monday-night press premiere of Shakespeare Theatre Company’s twofer of Richard Brinsley Sheridan’s The Critic and Tom Stoppard’s The Real Inspector Hound last week, as I am teaching the Sweet Science on Monday nights this season. But I caught up with the show later in the week and my Washington City Paper review went up this afternoon. Stoppard’s play, especially, makes the pain of hackery burn more than usual.
My regimen of smiling and sentence-speaking practice continues as I join host Robert Aubry Davis and Washington Post arts writer Jane Horwitz for another Around Town panel discussion of what’s happening on stage here in Our Nation’s Capitol and its close suburbs. In this batch of videos, which have also been airing irregularly on your public television, we discuss three shows I reviewed for the Washington City Paper and one I didn’t: Beth Henley’s homage to silent film comedies Laugh, the Shakespeare Theatre’s new production of the classic musical Man of La Mancha, Arena Stage’s world premiere play about divisive Supreme Court Justice Antonin Scalia, The Originalist, and Soon, a new musical about the end of the world, kind of, at Signature Theatre.