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Filtering by Tag: play reviews
Isabel Van Natta and Karan Brar in the tech thriller Data. (T. Charles Erickson Photography)
Imagine, if your capacity for speculative, blue-sky doomsday pessimism can possibly conceive of such a scenario, the union of a morally flexible tech oligarch and a U.S. government hostile to immigration and intolerant of dissent.
My Washington Post review of Data, playwright Matthew Libby’s world-premiere thriller at Arena Stage, is here.
Cole Taylor and Caro Reyes Rivera as those star-cross’d young lovers. (Erika Nizborski)
You know that game where you try to think of old movies or plays where the introduction of cell phones would spoil the plot? Romeo and Juliet has always seemed like an obvious one, but Raymond O. Caldwell, director of the Folger’s season-opening update of the tragedy, begs to differ. My Washington Post review is here.
Matthew Broderick in Babbitt. (Teresa Castracane)
My Washington City Paper review of Babbitt, a Matthew Broderick-anchored adaptation of a Sinclair Lewis novel that premiered at San Diego’s La Jolla Playhouse last year ahead of its current STC engagement, is here.
Clown-as-life-coach Julia Masli. (Cameron Whitman))
On HA HA HA HA HA HA HA, a clown show that was one of the most popular attractions at last year’s Edinburgh Festival Fringe, now at Woolly Mammoth for a short run.
Brian Quijada and Nygel D. Robinson, the cocreators and performers of Mexodus. (Chris Banks)
My Washington Post review of Mexodus, a brilliantly performed but still somewhat underwritten musical about the line of the Underground Railroad that ran south into Mexico, is here.
Caro Dubberly and Nikkole Salter in Confederates. (Chris Banks)
My Washington City Paper review of Mosaic Theater Company’s strong production of Dominique Morisseau’s play Confederates is here.
Tara Grammy and Maboud Ebramhimzadeh in English. (DJ Corey Photography)
Here’s my Washington City Paper review of Sanaz Toossi’s play English, now in a fine production at the Studio Theatre.
Michael Innocenti and Zach Brewster-Geisz are principled pols in The Outsider. (Cameron Whitman)
As satire, it’s yesterday’s news, but as farce, it works. My Washington City Paper review of Paul Slade Smith’s The Outsider at Keegan Theatre is here.
