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Filtering by Tag: Constellation Theatre Company

Written in the Stars: Constellation Theatre’s "Aida," reviewed.

Chris Klimek


Because three shows had their press nights here in the DMV the same night Constellation Theatre Company opened their version of the Y2K-era Elton John-Tim Rice musical Aida, myWashington City Paper review took a little while to appear. Here it is. The principal actors are better than most of the material.

No Jacket Required, Apparently: Talking Death of a Salesman, In the Heights, and The Wild Party on Around Town

Chris Klimek

You can see for yourself what a business-casual mood I was in the day Robert Aubry Davis, Jane Horwitz, and I convened at WETA to shoot a fresh batch of Around Town segments. Perhaps you are correct that I should have chosen a shirt that is not the same shade as our studio backdrop. Hey, I don't tell you how to do your part-time job.

I reviewed Ford's Death of a Salesman and Constellation's The Wild Party for the Washington City Paper. For In the Heights, the musical I herein refer to as "Lin-Manuel Miranda's THX-1138," I didn't write about it. I just bought four more tickets the morning after to take my folks.

Information Overload: Forum’s Love and Information & Constellation’s The Wild Party, reviewed.

Chris Klimek

Farrell Parker (center) is the best reason to see Constellation's  The Wild Party.  (AJ Guban)

Farrell Parker (center) is the best reason to see Constellation's The Wild Party. (AJ Guban)

A surfeit of arts coverage in last week's Washington City Paper means it took my reviews of Forum's Caryl Churchill experiment Love and Information and Constellation's Jazz Age musical The Wild Party 'til now to appear. They're in the paper this week.

Bad Times, Good Times: Studio's Cloud 9 and Constellation's Urinetown, reviewed.

Chris Klimek

For various critic-related, theater company-related, and publication-related reasons, my reviews of Studio Theatre's production of Caryl Churchill's anticolonial sex romp Cloud 9 and Constellation Theatre Company's new production of the Y2K-era Greg Kotis-Mark Hollman musical Urinetown have taken a long time to see print. But they're in this week's Washington City Paper, and online, too.

A Horse of a Different Color: Between Riverside and Crazy and Equus, reviewed.

Chris Klimek

Frankie R. Faison, Emily K. Townley, and David Bishins in  Between Riverside and Crazy.  (Allie Dearie/Studio Theatre)

Frankie R. Faison, Emily K. Townley, and David Bishins in Between Riverside and Crazy. (Allie Dearie/Studio Theatre)

Among my other inspired headline ideas was the immortal "Race, Horse." Washington City Paper editor-in-chief Steve Cavendish came up with the winning entry: "Crime Doesn't Neigh." Bravo, Steve. Herewith, my reviews of Studio's Between Riverside and Crazy, the 2015 Pulitzer winner from Stephen Adly Guirgis, and Constellation's new production of Peter Shaffer's Equus.

Petty Hurts: Girlstar and Avenue Q, reviewed.

Chris Klimek

In this week's Washington City Paper, I size up a pair of musicals: Signature Theatre's Girlstar is a confused mess borne aloft by a strong cast, and Constellation Theatre's revival of the hit Sesame Street parody Avenue Q is funnier and more soulful than The Muppets. (The dour 2015 version, not The Muppet Show.) More words, if not necessarily more insight, on these subjects here and here.

Feline Fatale: The Lieutenant of Inishmore, reviewed.

Chris Klimek

Megan Dominy and Thomas Keegan get bloody (Constellation Theatre Co.)

Megan Dominy and Thomas Keegan get bloody (Constellation Theatre Co.)

I reviewed Constellation Theatre Company's new production of Martin McDonagh's bloody 2001 farce The Lieutenant of Inishmore in today's Washington City Paper. The fine Washington Post story I cite (by David Segal, not long after he'd handed off his gig as the paper's pop music critic to my pal Josh du Lac) about the blood work in the play's U.S. premiere back in 2006 is here.

Fetch Clay, Make Man and ABSOLUTELY! {perhaps}, reviewed.

Chris Klimek

Roscoe Orman and Eddie Ray Jackson as Stephin Fetchit & Muhammad Ali in Fetch Clay, Make Man. (Round House)

My review of Round House Theatre's strong production of Will Power's Fetch Clay, Make Man, a play about the unlikely friendship of Muhammad Ali and Stephin Fetchit, is in today's Washington City PaperI also review Constellation Theatre's update of a century-old Luigi Pirandello play, ABSOLUTELY! {perhaps}.

If you want to see if your eyes are fast enough to catch the "phantom punch" Ali used to put down Sonny Liston in the first round of their 1965 rematch -- the punch that serves as Fetch Clay's MacGuffin -- it's at about 7:20 in this video.