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Filtering by Tag: Mosaic Theatre of DC

Rebirth Until Birth: Mosaic Theater's "Fabulation, or The Re-Education of Undine," reviewed.

Chris Klimek

William T. Newman, Jr. and Felicia Curry in  Fabulation . (Christopher Banks)

William T. Newman, Jr. and Felicia Curry in Fabulation. (Christopher Banks)

Lynn Nottage has won two Pulitzer Prizes for Drama in the 15 years since her play Fabulation, or the Re-Education of Undine was first performed; there is no Pulitzer Prize for Comedy. Mosaic Theater's production of Undine gets its weakest scenes out of the way early, though even in its most heart-rending moments I yearned for a little more variation in the rhythm of star Felicia Curry's speech. I've loved her in many other shows. My Washington City Paper review is here.

My colleague Jane Horwitz liked Fabulation more than I did, as you can hear her say in our brief Around Town discussion.

Apprentice v Apprentice: Vicuña & The American Epilogue, reviewed.

Chris Klimek

John de Lancie, Brian George, and Haaz Sleiman (Mosaic Theatre)

John de Lancie, Brian George, and Haaz Sleiman (Mosaic Theatre)

My Washington City Paper review of Jon Robin Baitz's already-anachronistic Trump satire Vicuña, which is getting a lavish second production at Mosaic Theatre after premiering in Los Angeles last year, is here.

Flying V Fights: The Secret History of the Unknown World, reviewed.

Chris Klimek

Noah Schaefer, Em Whitworth, and Tim German duke it out. (Ryan Maxwell)

Noah Schaefer, Em Whitworth, and Tim German duke it out. (Ryan Maxwell)

Just because Flying V's latest fight-choreography-themed show, The Secret History of the Unknown World, is pandering to me even harder than other fight-intensive shows doesn't mean you won't enjoy it, too. Read all about it in this week's Washington City Paper. Also reviewed: Mosaic Theatre Company's U.S. premiere of Hanna Eady and Edward Mast's drama The Return.

The Man Trap: STC's The Taming of the Shrew and Mosaic Theatre's When January Feels Like Summer, reviewed.

Chris Klimek

Directors have reckoned with the misogyny of The Taming of the Shrew in many ways. Ed Sylvanus Iskandar's fix — cast only men, and let the female characters express themselves via covers of old songs from Duncan Sheik, a man — is at least, and most, strange. I review Iskandar's perplexing boys-only Shakespeare Theatre Company Shrew in today's Washington City Paper.

Also reviewed: Mosaic Theatre of DC's When January Feels Like Summer, a shaky play featuring a rock-steady cast. Jeremy Keith Hunter apparently had a small role in Studio Theatre's Chimerica, a show I loved last year, but I don't remember him from that. He's brilliant in January, though.