If it ever seems like I’m about to well, actually you or anybody else, kindly remind me that this is what happens to my face.
With the return of theatre season comes the return of me trying semi-convincingly to smile on command! Robert Aubry Davis, Jane Horwitz, and I have shot a new batch of short Around Town segments discussing a great pair of shows I reviewed for the Washington City Paper last month, Studio Theatre’s production of Skeleton Crew byDominique Morisseau and Theatre Alliance’s remount of their Helen Hayes Award-winning 2016 version of Marc Bamuthi Joseph Word Becomes Flesh. How to embed those videos here eludes me because I’m an analog guy, but I’ve got links.
Skeleton Crew: http://player.pbs.org/viralplayer/3005059310
Word Becomes Flesh: http://player.pbs.org/viralplayer/3005058510
You’ve got two, two, two big shows written by and starring people of color up in the District just now: Skeleton Crew, the third entry in Dominique Morisseau’s Detroit series, has the same concerns as Lynne Nottage’s Pulitzer Prize-winning Sweat but it’s a better play, and Studio Theatre’s production is built to last. And Psalmayene 24’s multi Helen Hayes Award-winning production of Marc Bamuthi Joseph’s Word Becomes Flesh is back at Theatre Alliance for a remount starring the same superb cast it did last year. I review both in this week’s Washington City Paper. For which I also wrote the cover story, for some reason. It’s not like I get paid by the word, people.
Posted in theatre
Tagged Caroline Stefanie Clay, Chris Lane, Clayton Pelham Jr., Dominique Morisseau, Gary L. Perkins III, Jason Bowen, Justin Weaks, Louis E. Davis, Marc Bamuthi Joseph, Patricia McGregor, Psalmayene 24, Shannon Dorsey, Studio Theatre, Theatre Alliance, Tyee Tilghman, Washington City Paper
Studio Theatre is putting on a ballsy experiment for the next month or so, running a new production of Three Sisters and No Sisters—Aaron Posner’s companion play—not in rep but literally on top of one another. I review both in this week’s Washington City Paper.
FURTHER READING: My April 2015 review of Round House’s Uncle Vanya. My January 2015 review of Posner’s Life Sucks, or the Present Ridiculous at Theatre J. My June 2013 review of Stupid Fucking Bird. And my August 2011 review of the Sydney Theatre Company’s Uncle Vanya, starring Cate Blanchett and Hugo Weaving.
Feeling compelled to write a play about war or genocide? You’ve got your work cut out for you, but God bless. Feel compelled to turn your frustration over how hard it is to write a good play about war or genocide into a play? Please stop. A lot of things are about you, but not everything.
Woolly Mammoth’s American premiere of Chilean playwright Guillermo Calderón’s Kiss is not as bad as Jackie Sibblies Drury’s We Are Proud to Present, because nothing I’ve ever seen on a stage is as myopic and offensive as Jackie Sibblies Drury’s We Are Proud to Present. But it ain’t good. I break it down in today’s Washington City Paper, available wherever finer alt-weeklies are given away gratis.
Posted in theatre
Tagged Bertolt Brecht, Gabriela Fernandez-Coffey, Guillermo Calderón, Joe Mallon, Matt Torney, Shannon Dorsey, Staceyann Chin, Studio Theatre, Tim Getman, Washington City Paper, Woolly Mammoth Theatre Company, Yury Urnov
For various critic-related, theater company-related, and publication-related reasons, my reviews of Studio Theatre’s production of Caryl Churchill’s anticolonial sex romp Cloud 9 and Constellation Theatre Company’s new production of the Y2K-era Greg Kotis-Mark Hollman musical Urinetown have taken a long time to see print. But they’re in this week’s Washington City Paper, and online, too.
Posted in theatre
Tagged Allison Stockman, Caryl Churchill, Constellation Theatre Company, Greg Kotis and Mark Follman, Holly Twyford, Jake Null, Jenna Berk, Laura C. Harris, Matt Dewberry, Michael Kahn, musicals, play reviews, Studio Theatre, The Washington CIty Paper, Vaughn Ryan Midder, Washington City Paper
My review of Studio Theatre’s terrific production of Robert Askins’ Broadway hit Hand to God is in today’s Washington City Paper.
Among my other inspired headline ideas was the immortal “Race, Horse.” Washington City Paper editor-in-chief Steve Cavendish came up with the winning entry: “Crime Doesn’t Neigh.” Bravo, Steve. Herewith, my reviews of Studio’s Between Riverside and Crazy, the 2015 Pulitzer winner from Stephen Adly Guirgis, and Constellation’s new production of Peter Shaffer’s Equus.