My review of Woolly Mammoth Theatre Company’s “rich and fervent” production of Taylor Mac’s family tragicomedy Hir is in this week’s Washington City Paper, along with a shorter one of WSC Avant Bard’s latest King Lear — which just might be the swan song of one of DC’s most venerable actors, the great Rick Foucheux. Pick up a paper copy for old time’s sake.
Posted in pride, theatre
Tagged Christopher Henley, Emily Townley, Frank Britton, Mitchell Hebert, play reviews, Rick Foucheux, Sara Barker, Tom Prewitt, Washington City Paper, Woolly Mammoth Theatre Company, WSC Avant Bard
Can a working actor get famous in one of Shakespeare’s least-famous plays? In this week’s Washington City Paper, available wherever finer alt-weeklies are given away gratis, I profile the hardworking and versatile titan of stage and stage Mr. Ian Merrill Peakes. He’s currently appearing in the Folger Theatre‘s Timon of Athens, the “Hey Bulldog” of the Shakespearean canon.
Robert Schenkkahn’s Building the Wall, a terrifyingly plausible future-history of the Trump Administration that Forum Theatre has scrambled to shoehorn into their season, is a cry of warning that requires little suspension of disbelief.
I saw the show at Arena Stage last week in the first part of its bifurcated, two-venue run. It’s at Forum’s Silver Spring performance space May 18-17. Go. My review is in this week’s Washington City Paper, along with one of The Shakespeare Theatre’s Company’s more-is-less Macbeth.
Posted in theatre
Tagged Chris Genebach, Eric Messner, Erica Chamblee, Forum Theatre, Logan Vaughn, Michael Dove, Mosaic Theatre, play reviews, President Trump, Robert Schenkkan, speculative fiction, Tracy Conyer Lee, Washington City Paper
Given that Aaron Posner’s 2009 production of Tom Stoppard’s Arcadia at the Folger Theatre, starring Holly Twyford and Erin Weaver (and Cody Nickell and Eric Hissom) remains one of my favorite theatrical experiences, it’s a cinch I’d be susceptible to Posner’s reteaming with Twyford and Weaver in Or, Liz Duffy Adams’ erudite farce about seminal British playwright Aphra Behn. Here’s my Washington City Paper review.
My review of Forum Theatre’s “Nasty Women Rep,” comprised of Ruby Ray Spiegel’s Dry Land and Monica Byrne’s What Every Girl Should Know, took longer to appear than it should have, but it’s up now. These two shows sustain Forum’s reputation for bold, timely work, and I recommend them—Dry Land, especially.
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.