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Filtering by Category: theatre
Won't someone PLEASE think of the children? Charlayne Woodard. (Igor Dmitry/Studio Theatre)
Charlayne Woodard is an actress and storyteller of no mean talent. I did not care for her solo show The Night Watcher.
Reviewed in today's Washington City Paper.
I review Stephen Spotswood's new play In the Forest, She Grew Fangs, as well as Aaron Posner's oddly inert new Romeo & Juliet for the Folger Theater, in this week's Washington City Paper. Available wherever finer alt-weeklies are given away gratis.
Oh, and the costume and props designer for And In the Forest is Jesse Shipley, not Jenny. My mistake.
Sarah Marshall and Kimberly Gilbert do battle.
My review of Round House Theatre's new production of Martin McDonagh's first play, The Beauty Queen of Leenane, is in today's Washington City Paper.
Ubiquitous director Jeremy Skidmore's tenacious production of A Few Good Men, the play that gave us Aaaron Sorkin, cuts a dashing figure in its dress whites. Reviewed in this week's Washington City Paper, available wherever finer alt-weeklies are given away for free.
Crashonda Edwards & Julian Michael Martinez play real-life artists Samella Lewis & John Biggers.
So I ended up with a few more hundred words of real estate in which to unpack what I consider be the very earnest and honorable Hampton Years' very earnest and honorable shortcomings. And also the rather less honorable shortcoming of my published review, wherein I reported that the artist Elizabeth Catlett, a character in The Hampton Years, is still alive. In fact, Ms. Catlett died last year. I apologize for my stupid, sloppy error.
In the unlikely event you've nothing better to do on this rainy Friday
afternoon than watch Robert Aubry Davis and Jane Horowitz offer
insightful comments about a couple of current plays while I blink my
eyes and wobble my head around and emit words, then by all means: Gawk
away as we discuss Stupid Fucking Bird and The Hampton Years on Around Town.
Watch Stupid F---ing Bird on PBS.
Watch The Hampton Years on PBS.
ALSO: I reviewed Stupid Fucking Bird in the City Paper this week.
The A-List: Cody Nickell, Kate Eastwood Norris, Kimberly Gilbert and Rick Foucheux in Stupid Fucking Bird.
Of the stage productions that've moved me most in the five years or so that I've been semi-professionally paying attention to theatre in DC, a suspiciously high percentage of those have been directed by Aaron Posner. (His 2009 version of Tom Stoppard's Arcadia at the Folger Theatre remains my favorite thing that I've ever seen in a playhouse.)
Posner is the playwright, not the director, of Stupid Fucking Bird, his-flippant-but-faithful rejiggering of Anton Chekhov's The Seagull, which opened at Woolly Mammoth Theatre Company this weekend. (Woolly Mammoth founder Howard Shalwitz is its director.) The result is pretty goddamn delightful, as I aver in today's Washington City Paper, available wherever finer alt-weeklies are given away for free.
Christopher Henley and Brian Hemmingsen as Spooner and Hirst.
Allow myself to quote myself: Harold Pinter’s No Man’s Land is a 38-year-old Rubik’s Cube covered in Rorschach blots, a confounding examination of memory and masculinity that resists easy interpretation like an Aikido master shrugging off an unwanted bear hug. I wrestle with that bear -- er, WSC Avant Bard's production of that bear-hug-avoiding Aikido master of a play, that is -- in this week's Washington City Paper.
