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Filtering by Tag: John Vreeke

Cheks Mix: Vanya and Sonia and Masha and Spike & Uncle Vanya, reviewed.

Chris Klimek

We've got an An-ton of Chekhov in DC just now, what with Arena Stage doing Christopher Durang's Tony Award-winning, Chekhov-inflected Sonia and Masha and Vanya and Spike, while Round House Theatre has put together a sublime new Uncle Vanya, working from Pulitzer Prize winner Annie Baker's recent translation of the play.

I review both of those in today's Washington City Paper. I have seen Live Art DC's staged-in-a-bar Drunkle Vanya yet, but it's stumbling distance from my apartment so I should find the time.

FURTHER READING: My 2010 review of Baker's Circle Mirror Transformation. My 2011 review of Sydney Theatre Company's Liv Ullmann-directed, Cate Blanchett and Hugo Weaving-starring Uncle Vanya. My 2012 review of Baker's The Aliens. My 2013 review of Aaron Posner's Stupid Fucking Bird, and its follow-up, from earlier, this year, Life Sucks, or the Present Ridiculous. Surely that's more than enough.

Suicide Admission: Theater J's The Intelligent Homosexual's Guide, reviewed.

Chris Klimek

Tom Wiggin, right, is the emotional anchor of this discursive and pointy-headed gabfest.

Tom Wiggin, right, is the emotional anchor of this discursive and pointy-headed gabfest.

My review of Theater J's production of Tony Kusher's latest play, (deep breath) The Intelligent Homosexual's Guide to Capitalism and Socialism with a Key to the Scriptures, is in today's Washington City Paper, just in case your own family's arguments aren't sufficiently academic and orotund and insufferable enough for you. Good performances, though. Happy Thanksgiving.

This Was Supposed to Be the New World: Theater J's After the Revolution and Woolly Mammoth's Detroit, reviewed

Chris Klimek

Nancy Robinette & Megan Anderson in  After the Revolution.  Photo: Stan Barouh/Theater J. 

Nancy Robinette & Megan Anderson in After the Revolution. Photo: Stan Barouh/Theater J. 

I was a bigger fan of Studio Theatre's production of Amy Herzog's 4,000 Miles earlier this year than I am of Theater J's new staging of its companion play, After the Revolution.

I can't fault director Eleanor Holdridge's staging of the latter for that; I just connected more strongly to the material in 4,000 Miles. Getting to see two marvelous actors, Tanya Hicken and Nancy Robinette, offer their takes on the same character -- a close approximation of Herzog's grandmother -- in 4,000 Miles and Revolution, respectively, within a half-year of each other was fun.

I review After the Revolution in today's Washington City Paper, along with Woolly Mammoth's production of Lisa D'Amour's Detroit, which is a nice showcase for some of Woolly's favorite actors -- and mine, too.