Tag Archives: Taffety Punk

Out of Her Tree: Enter Ophelia, distracted, reviewed.

Erin White, Katie Murphy, Kimberly Gilbert, and Eleni Grove in Enter Ophelia, distracted. Photo by Teresa Castracane.

reviewed the great Kimberly Gilbert’s passion project Enter Ophelia, distracted, for the Washington City Paper this week. Continue reading

Sometimes It Smarts, Being a Smartie: Charm and Bloody Poetry, reviewed.

Tonya Beckman, Dan Crane, Ian Armstrong, and Esther Williams in Howard Brenton's "Bloody Poetry." (Teresa Castracane/Taffety Punk)My review of Taffety Punk Theatre Company’s “Rulebreaker Rep” —Kathleen Cahill’s Charm, about pioneering feminist Margaret Fuller, and Howard Brenton’s Bloody Poetry, about free-loving romantics of the early 19th century — is in today’s Washington City Paper. Continue reading

Wrecks & Effects: Folger’s Twelfth Night and Taffety Punk’s The Golem, reviewed.

Louis Butelli as Feste in Folger's TWELFTH NIGHT. Photo by Scott Suchman.

Louis Butelli as Feste in Folger’s TWELFTH NIGHT. Photo by Scott Suchman.

No, Elvis Costello has not embarked upon a mandolin tour with Steve Nieve. That’s Louis Butelli, whose performance as Feste is one of the highlights of the Folger Theatre’s new production of Twelfth Night, which I review in today’s Washington City Paper along with Taffety Punk’s spooky The Golem. Grab yourself a copy wherever finer alt-weeklies are given away for free.

Taffety Punk’s Riot Grrrrl Much Ado About Nothing, reviewed

Kimberly Gilbert as Benedick

My Washington City Paper review of Taffety Punk‘s ladies-only Much Ado About Nothing is right here. I’m off to Chicago.

Ford’s The Carpetbagger’s Children and Taffety Punk’s Owl Moon, reviewed

Clockwise from top right: Nancy Robinette, Kimberly Schraf and Holly Twyford

Ford’s Theatre’s The Carpetbagger’s Children features three of Washington’s most revered and accomplished actresses onstage together for the first time, and is exactly as exciting as this publicity photo makes it look. In his review for DCist, my friend Ian found a way of pointing out nicely that nothing happens in this show, at least not that we actually get to see.

I say it less politely in this week’s City Paper, wherein I also take in Taffety Punk Theatre Company’s Owl Moon, which is messier and more fun than the Ford’s show and features a great song by Xiu Xiu that I hadn’t heard before and a talking spirit-owl.

So obviously it wasn’t even a fair fight. Owl Moon of Ga’Hoole, y’all.

Capes Are a Drag: Suilebhan’s REALS

Alan Moore & Dave Gibbons's landmark 1986-7 series WATCHMEN remains comics' most celebrated interrogation of the super-hero trope.

Gwydion Suilebhan is a playwright here in DC who does good work of which we’ve spoken before. I previewed Taffety Punk’s “bootleg” of his latest, REALS, for the City Paper.