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Filtering by Category: theatre
Gavin Lawrence and Kimberly Gilbert in Marie Antoinette
My review of Woolly Mammoth Theatre Company's production of David Adjmi's Marie Antoinette, starring the great Kimberly Gilbert, is in today's Washington City Paper, available wherever finer alt-weeklies are given away for free.
Hey, it's a play, sort of, where you pay for the privilege of doing this for half an hour. Nope nope nope nope.
My review of Toast, dog & pony dc's ambitious but unfocused -- and deeply annoying -- new performance-art-as-corporate-encounter-group piece is in today's Washington City Paper, available wherever finer alt-weeklies are given away for free. Also reviewed: Taffety Punk's very fine The Devil in His Own Words.
Joseph Marcell and Bethan Cullinane in King Lear (Ellie Kurttz).
My review of the Globe Theater's stripped-down touring production of King Lear -- the play that inspired Ira Glass to proclaim "Shakespeare sucks"! -- is in today's Washington City Paper. I also reviewed Theatre Alliance's production of Caridad Svich's Spark.
FURTHER READING: I reviewed Synetic Theatre's wordless King Lear in 2011. And I interviewed Ira Glass, who was and remains one of my heroes, in April 2008.
My reviews of Scena Theatre's repertory of Irish playwright Conor McPherson's acclaimed Shining City and the world premiere of George O'Brien's Molly are in today's Washington City Paper. You are alerted.
The Washington City Paper's Fringeworthy Action News & Commentary Sqaud
As it has every year since 2010, overseeing the Washington City Paper's coverage of the Capital Fringe Festival here in DC claimed most of my July. Here's my wrap-up of the festival from this week's WCP.
And this episode of The FringeCasting Couch was recorded lst Tuesday afternoon, during a brief interval between a depressing visit to my doctor's office and the two fitness classes I had to teach that evening; one boxing and one boot camp. This were necessarily verbal-instruction-only editions of said classes for me; doctor's orders. Nothing feels worse.
Anyway, I'm a big fan of Live Action Theatre. Their show in the 2013 Capital Fringe Festival, The Continuing Adventures of John Blade, Super Spy, was my favorite last year. I liked their new one, The Tournament, so much that I'm leaving to see it for a second time right now. Here's the original Fringeworthy post.
I had them on the podcast last year, too.
For the fifth consecutive year, I'm running the Washington City Paper's coverage of the Capital Fringe Festival here in DC, manifest mainly through a blog previously known as Fringe & Purge that we decided this year to rename Fringeworthy. In 2012, I started The Fringe & PurgeCast to accompany that blog; its rebranding this summer forced me to rethink the podcast's name, too. The Fringe & PurgeCast is dead; long live The FringeCasiting Couch.
I'm not cross-posting most of the stuff I'm doing for Fringeworthy, but I'm going to put up a couple of recent episodes of the podcast that I thought were particularly fun. This one, which I recorded last night with Twanna A. Hines, whose show is called I Füçkèð Your Country, is one of those. The original post is here.
Roger Guenveur Smith performs his haunting and perceptive 65-minute monologue Rodney King.
My review of Rodney King, Roger Guenveur Smith's one-man play about the man he calls "the first reality TV star," is in this week's Washington City Paper.
