Tag Archives: Shakespeare Theatre Company

Merciless Flight: STC’s Twelfth Night, reviewed.

Twelfth Night

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

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Visions of Diana: King Charles III and I Wanna Fucking Tear You Apart, reviewed.

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I’m putting y’all on notice: My reviews of King Charles IIIMike 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.

The Man Trap: STC’s The Taming of the Shrew and Mosaic Theatre’s When January Feels Like Summer, reviewed.

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.

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Totalitarian Recall: 1984 and The Pillowman, reviewed.

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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

Less Is Moor: Othello, reviewed.

Ryman Sneed and Faran Tahir in the Shakespeare Theatre Company’s production of "Othello," directed by Ron Daniels. (Scott Suchman)

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.

Heal Thyself: The Critic and The Real Inspector Hound, reviewed.

"The Critic." Scott Suchman/Shakespeare Theatre

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.

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On Around Town, talking Laugh, Man of La Mancha, The Originalist, and Soon.

Screen Shot 2015-04-20 at 1.02.20 PMMy 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.

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