Tag Archives: William Shakespeare

Merciless Flight: STC’s Twelfth Night, reviewed.

Twelfth Night

Twelfth Night is my favorite Shakespeare play. The Shakespeare Theatre Company’s Ethan McSweeny-directed production is cleverly staged on a set made to resemble an airport, but it left me cold. In my Washington City Paper review, I try to unpack why. Continue reading

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Rome If You Want To: Folger’s Antony and Cleopatra, reviewed.

Cody Nickell and Shirine Babb (Teresa Wood)

My Shakespeare professor at James Madison University, Ralph Cohen, told us Antony and Cleopatra was his favorite Shakespeare play. Robert Richmond’s new production for the Folger Theatre, with Cody Nickell and Shirine Babb in the title roles, took me back to my salad days. I reviewed the show in this week’s Washington City Paper. Individual issues are free but the paper is now for sale. It’s all very confusing.

Cody Nickell and Shirine Babb (Teresa Wood)

 

Of Most Rare Note

TWood_Timon_134 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.

What Happens in Orlando Stays in Orlando: As You Like It, reviewed.

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As You Like It is my favorite Shakespearean comedy after Twelfth Night, but when the actor playing Orlando can’t hang with the actor playing Rosalind, it prevents this pleasant diversion from being something deeper. I reviewed the Folger Theatre’s production in this week’s Washington City Paper.

Be Brief, I See into Thy End: Fear, reviewed.

Jennifer J. Hopkins, Tom Carman, and Vince Eisenson in "Fear."

I had the good fortune to interview Star Trek’s resident alien linguist Marc Okrand this week, for a video that’ll posting next week as part of Air & Space / Smithsonian’s coverage of Trek’s 50th birthday. I met Marc through his involvement in DC theatre. After the shoot, we got some coffee and talked about—well, okay, yes, about his work on various Trek movies mostly, again, some more. But we also discussed how much we both enjoyed writer/director Kathleen Akerley’s ambitious new play FEAR, which I review in this week’s Washington City Paper.

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Law and Border: District Merchants and El Paso Blue, reviewed.

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District Merchants, Aaron Posner’s new Reconstruction-era DC gloss on The Merchant of Venice for the Folger Theatre, is an intriguing muddle; GALA Hispanic Theatre’s production of Octavio Solis’ El Paso Blue is a surrealist hoot. Both reviews appear in this week’s Washington City Paper, available wherever finer alt-weeklies are still hanging on.

The Man Trap: STC’s The Taming of the Shrew and Mosaic Theatre’s When January Feels Like Summer, reviewed.

Directors have reckoned with the misogyny of The Taming of the Shrew in many ways. Ed Sylvanus Iskandar’s fix — cast only men, and let the female characters express themselves via covers of old songs from Duncan Sheik, a man — is at least, and most, strange. I review Iskandar’s perplexing boys-only Shakespeare Theatre Company Shrew in today’s Washington City Paper.

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