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Be Brief, I See into Thy End: <em>Fear,</em> reviewed.

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

Chris Klimek

Vince Eisenson, Matthew Alan Ward, Seamus Miller, and Amal Saade in Fear.

Vince Eisenson, Matthew Alan Ward, Seamus Miller, and Amal Saade 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.

For evidence of just how pear-shaped the genre of plays-about-playmaking can go, consider Jackie Sibbles Drury’s unaccountably popular We Are Proud to Present…, a story about a half-dozen actors working to “devise” a play about a historic tragedy of which they know nothing. Though it’s meant to look improvised, it’s fully scripted, and the it's the single worst play I’ve ever seen in my professional or biological life. Akerley's play needs a revision, but it ducks the self-absorption that makes Drury's so, so insufferable.