After the customary late summer lull, I’m back on the theater beat. Last week’s Washington City Paper featured my reviews of two plays that first appeared in 2015, now making their regional premieres Branden Jacobs-Jenkins’ stunner Gloria, at Woolly Mammoth, and Small Mouth Sounds by Bess Wohl, at Round House.
FURTHER READING: My 2013 City Paper profile of Branden Jacobs-Jenkins is here.
Posted in theatre, Uncategorized
Tagged Alyssa Wilmoth Keegan, Bess Wohl, Branden Jacobs-Jenkins, Kip Fagan, Maboud Ebrahimzadeh, Megan Graves, Round House Theatre, Ryan Rilette, Washington City Paper, Woolly Mammoth Theatre Company
I wrote an oral history of my favorite cinema, the Uptown Theater on Connecticut Ave. NW here in DC, for the Washington City Paper. I love the oral history format. Cutting this down to publishable length tested me. My apologies to the various people whose comments were cut for length.
AMC Theatres declined to make attendance figures available for publication, but they told me they’ve ticket up slightly in the last year. I hope that means the Uptown will stick around a long time.
My reviews of Bedlam’s visiting production of Saint Joan at the Folger and of Spooky Action’s local premiere of Carole Fréchette’s The Small Room at the Top of the Stairs were in last week’s Washington City Paper, but for mysterious reasons took a few extra days to surface online. Enjoy.
Posted in theatre
Tagged Carole Fréchette, Carolyn Kashner, Casie Platt, Dria Brown, Edmund Lewis, Eric Tucker, Folger Theatre, George Bernard Shaw, Helen Murray, Joan of Arc, Michael Kevin Darnall, Mindy Shaw, Sam Massaro, Spooky Action Theater, Tuyet Thi Pham, Washington City Paper
My review of Scena Theatre’s production of the the Duncan MacMillan/Robert Ickes adaptation of Nineteen Eighty-Four that I first saw at the Shakespeare Theatre two years ago is in this week’s Washington City Paper. In the years since I saw this script staged the first time, I have acquired a copy of Eurythmics’ Greatest Hits on LP, which includes the unfortunate “Sexcrime (Nineteen Eighty-Four)” that accompanied the release of Michael Radford’s 1984 movie version.
Photo: Oscar Ceville as Winston Smith (Jae Yi Photography)
My review of Signature Theatre’s production of Girlfriend, wherein book writer (and songwriter, though not here) David Almond takes a (then) 20-year-old album Matthew Sweet wrote about his divorce and retcons it into a minimalist musical about two boys falling in love in Nebraska the summer after high school, is in this week’s Washington City Paper. A fine little show. Nothing wrong with that sort of appropriation. But everyone I’ve heard from who really loves it has never heard the album from which Almond borrowed its music.
Criticism imitating art imitating life: My Washington City Paper review of Annie Baker’s John at Signature Theatre is three times as long as my review of the touring Underground Railroad Game at Woolly Mammoth, just as John is three times as long as Underground Railroad Game. And roughly a third as rewarding.
Your mileage, as ever, may vary.
I’ve got reviews of two shows I enjoyed in this week’s Washington City Paper: Studio Theatre second-in-command Matt Torney’s confident new production of Brian Friel’s 40-year-old Irish classic Translations, and Aaron Posner’s The Winter’s Tale over at the Folger. The former as a lot of superb performers who haven’t worked a lot in Washington before. The latter has a bunch of Posner’s favorite actors (and mine), but it’s Michael Tisdale as the maniacal King Leontes who’s the standout.
Posted in theatre
Tagged Aaron Posner, Aldo Billingslea, Brad Armacost, Brian Friel, Cary Donaldson, Daven Ralston, Eric Hissom, Erin Gann, Folger Theatre, Jeff Keogh, Kate deBuys, Kimberly Gilbert, Martin Giles, Matt Torney, Matthew Aldwin McGee, Megan Graves, Michael Tisdale, Molly Carden, play reviews, Studio Theatre, Washington City Paper, William Shakespeare