1968: Humanity learns the location of the “Planet of the Apes.”
Last year, a brilliant new play premiered at Woolly Mammoth Theatre Company called Mr. Burns, a Post-Apocalyptic Play. Everyone who reviewed it told their readers far too much about it. Everyone but me… he said modestly.
The cycle repeated itself when Mr. Burns opened last month at Playwrights Horizons in New York City. So I wrote this for the Village Voice.
Posted in cinema, movies, theatre
Tagged Anne Washburn, Mr. Burns, podcasting, podcasts, spoilers, Village Voice, Voice Film Club, Woolly Mammoth, Woolly Mammoth Theatre Company
Wait, wait, I'm still apologizing! Don't start the music yet!
Mike Daisey appeared for a one-hour public Q & A session last night at Woolly Mammoth Theatre Company, the place where his controversial monologue The Agony and the Ecstasy of Steve Jobs
was born — or, to use his creepy syntax, “birthed.”
It was an interesting hour highlighted by a fascinating exchange near the end, which I reproduce in my Washington City Paper Arts Desk post about it.
Christian Conn and Erica Sullivan in VENUS IN FUR. (SCOTT SUCHMAN/Studio Theater)
What was the Number One Topic under consideration by DC theaters in 2011? Why, the theater, of course.
Michael Russotto and Joshua Morgan in A BRIGHT NEW BOISE
Woolly Mammoth opens their Apocalypse-themed 32nd season with Samuel D. Hunter‘s surprisingly empathetic comedy A Bright New Boise. My City Paper review is here. I also wrote about Active Cultures’s Halloween trio Hellspawn in this week’s issue, available wherever fine newsweeklies are given away free.
Jefferson A. Russell, Dawn Ursula, Kimberly Gilbert and Cody Nickell will all return in Woolly's summer reprise of the Pultizer-winning CLYBOURNE PARK
Way to go, Bruce Norris.
Woolly’s almost-world-premiere production of Bruce Norris’s now wildly successful race-and-gentrification play, which I fairly raved about at this time last year, is coming back this summer. I muse briefly on why this is a good and welcome thing in the City Paper’s Best of DC issue, on stands this week.
No time to blog, Dr. Jones; I gotta catch a bus up to New York to reconnect with my NEA theaterfolk.
But: Hey, remember that scene from 1992’s admittedly unmemorable Lethal Weapon 3, wherein Mel Gibson and Rene Russo’s two tough LAPD cops fore-play by comparing their battle scars? My review of Woolly’s Gruesome Playground Injuries, which develops that premise into a full-blown “unsentimental, nonlinear anti-romance” spanning 30 years, is right here.
And now I shall return to collaborating with G-Weld on the Broadway musical adaptation of Die Hard with a Vengeance. Happy Memorial Day, God bless you all, and God bless the United States of America.