There's been no shortage of opportunities to see Mary Stuart, Friedrich Schiller's early 19th century play about mid-16th century skullduggery among queens, in the DMV over the last decade. But Olney Theatre Center honcho Jason Loewith's stripped-down update is good. I reviewed it in last week's Washington City Paper, and discussed it briefly on Around Town, which you can see below.
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I didn't write about Ella Hickson's Oil, the best play I've seen this year. But I did review Lucy Kirkwood's The Children, the second-best. I'm struck by how different two plays with ecological themes written by British women born in the 80s that premiered in 2016 can be. I also wrote about Folger's new production of the seldom-staged Shakespeare comedy, Love's Labor's Lost, and discussed it on Around Town, below.
Something old, something new, something borrowed, something... something. In this week's Washington City Paper, I review Kleptocracy, an imperfect but intriguing Vladimir Putin origin story by Kenneth Lin at Arena Stage, starring the guy in the cast who looks the second-most Putinlike as Putin. Plus a puzzling new production of Twelve Angry Men at Ford's.
For your Washington City Paper, I reviewed The Panties, the Profit, and the Purse—a series of linked David Ives comedies adapted, with shrinking fidelity, from a trilogy by the 19th century German social critic Carl Sternheim. That sounds awfully highbrow, doesn't it? Ives is better at farce than at satire, and the show is a better document of what he likes than what he thinks. I liked it, but I'd like it more if Ives would—in the words of the 21st century social critic Boots Riley—"Sho[his]Ass." As it were.
I learned of my former boss’s passing last Saturday via a text from my friend Brian just after midnight: “My sincere condolences on your friend Ricky Jay.”
I worked for RJ for eight months, 13 years ago. He was kind to me, and I recall many moments of warmth between us, but it would be disingenuous for me to imply we were buddies. I was his employee. Then again, people who knew him for much longer than I did spoke of being very conscious of minding those kinds of boundaries with him, too.
I didn't think I was going to write anything about him. I didn't see how I could without also writing about me, and a rough patch in my life, which seemed perilously narcissistic/self-pitying/starfucking/all of the above.
Then old buddy Glen, who is also, happily, my editor, prodded me to start and I couldn't stop.
Action Figure: A Syrian Asylum Seeker Makes Her English-Language Debut in "This Hope: A Pericles Project"
I've got a feature in today's Washington City Paper about Raghad Mahklouf, a Syrian asylum-seeker—and veteran actor—who's appearing in The Welders' new riff on Pericles. Only 34 seats are available for each performance, so don't sleep on those tickets if this appeals to you.