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Filtering by Tag: Arena Stage
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.
I wish I could muster more enthusiasm for Michael Kahn's final Hamlet, starring Michael Urie, or for Sovereignty, an Arena Stage World Premiere entry in the Women's Voices Theater Festival written by Mary Kathryn Nagle, who knows whereof she speaks but not how to make it sing. Those reviews are in this week's Washington City Paper.
My review of Lisa Loomer's Roe — an "openly didactic wiki-play" that was never meant to be as timely as it is — is in this week's Washington City Paper.
This would've been a good one to discuss with the student critics I had the privilege of working with at the Kennedy Center American College Theatre Festival last week. Usually I'm loath to summarize the plot of a play, or to foreground my own political leanings in a review. But when the plot is a history, and our politics desperate, that puts one in a bind.
Prince is all I've thought about in the can-it-really-be-only-a-day since the world learned of his death, but here are the two theatre reviews I filed earlier in the week for the Washington City Paper. Arena Stage does Richard Schenkkan's 2014 Tony winner All the Way, and Signature Theatre stages Bathsheba Doran's The Mystery of Love and Sex.
Okay, back to deliberating whether I should post Prince's long out-of-print 2002 three-disc live album One Night Alone Live, which is not available for purchase anywhere unless you're prepared to drop north of $300 on a used copy.
I struggled with my Washington City Paper review of The Lion, a strong, brief one-man musical play by the singer-songwriter Benjamin Scheuer. This was a case where learning about the circumstances of the show's creation—as one is wont to do when writing about art—made me like it less in hindsight than I did the moment the performance ended. Is that fair? I'm still not sure. You can read my attempt to work through my consternation while still giving the artist his due here.
It's already been three weeks since I saw Arena Stage's new production of Oliver! — Lionel Bart's beloved 1960 musical adaptation of Charles Dickens' Oliver Twist — but for various page-cutting reasons, my review did not run in the Washington City Paper until this week's issue. Somehow I got through it without mentioning that Jeff McCarthy, who plays Fagan, was in RoboCop 2.