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.
Adam Wesley Brown, Ian Merrill Peakes, and Romell Witherspoon in “Rosencrantz and Guildensern Are Dead” (Teresa Wood)
Meeya Davis, Nikiya Mathis, Caroline Clay, Afi Bijou. and Tonye Patano in “The Blood Quilt.” (C. Stanley Photography)
Liam Forde, Kimberly Gilbert, Zdenko Martin, and Michael Glenn in “Jumpers for Goalposts” (Igor Dmitry)
My reviews of — in alphabetical order — the new play The Blood Quilt, the debuting-in-the-U.S. play Jumpers for Goalposts, and the postmodern chestnut Rosencrantz and Guildenstern Are Dead, are all in this week’s Washington City Paper. Except for the latter two of the three, which are online-only. Find them via the links above.
Posted in theatre
Tagged Aaron Posner, Arena Stage, Craig Wallace, Folger Theatre, Ian Merrill Peakes, Kamilah Forbes, Katori Hall, Kimberly Gilbert, Kimberly Schraf, Studio Theatre, The Studio Theatre, Tom Stoppard, Tom Wells, Washington City Paper
Whaddaya mean I’m two years too late for a Borat joke?
This still from Aaron Posner’s brilliant new staging of Tom Stoppard’s Arcadia at the Folger wouldn’t make me want to run out and see it, really. But I hope my DCist review will inspire you to do just that. Best thing I’ve seen on a stage in 2009, certainly, and probably going back a goodly while earlier than that. Run, don’t walk.
What, you want more? Okay. Review proper begins after the jump.