Sisters of No Mercy: Three Sisters and No Sisters, reviewed.

Kimberly Gilbert and Todd Scofield in No Sisters. (Studio Theatre)

Studio Theatre is putting on a ballsy experiment for the next month or so, running a new production of Three Sisters and No Sisters—Aaron Posner's companion play—not in rep but literally on top of one another. I review both in this week's Washington City Paper.

FURTHER READING: My April 2015 review of Round House's Uncle Vanya. My January 2015 review of Posner's Life Sucks, or the Present Ridiculous at Theatre J. My June 2013 review of Stupid Fucking Bird. And my August 2011 review of the Sydney Theatre Company's Uncle Vanya, starring Cate Blanchett and Hugo Weaving.

Visions of Diana: King Charles III and I Wanna Fucking Tear You Apart, reviewed.

I'm putting y'all on notice: My reviews of King Charles III—Mike Bartlett's marvelous blank verse political drama at the Shakespeare Theatre—and Studio Theatre's world premiere production of Morgan Gould's I Wanna Fucking Tear You Apart are in this week's Washington City Paper.

Storm Front: Baby Screams Miracle, reviewed.

Kate Eastwood Norris and Cody Nickell pray together. (Scott Suchman/Woolly Mammoth)

On Baby Screams Miracle, a 2013 play by Clare Barron at Woolly Mammoth Theatre Company, directed by Woolly founder Howard Shalwitz.

Period Piece: On Theatre J's The How and the Why

Valerie Leonard and Katie deBuys are evolutionary biologists in Sarah Treem's play. (Theater J)

Here's a little preview I wrote for Theater J's imminent production of The How and the Why, a play about dueling evolutionary theories regarding menstruation from The Affair showrunner Sarah Treem.  It's in today's Washington City Paper.

What Happens in Orlando Stays in Orlando: As You Like It, reviewed.

Lindsay Alexandra Carter and Antoinette Robinson as Rosalind and Celia, respectively.

As You Like It is my favorite Shakespearean comedy after Twelfth Night, but when the actor playing Orlando can't hang with the actor playing Rosalind, it prevents this pleasant diversion from being something deeper. I reviewed the Folger Theatre's production in this week's Washington City Paper.

Court Disorder: Roe, reviewed.

Sara Bruner and Jim Abele as Norma McCorvey and Flip Benham in Roe.

My review of Lisa Loomer's Roe — an "openly didactic wiki-play" that was never meant to be as timely as it is — is in this week's Washington City Paper.

This would've been a good one to discuss with the student critics I had the privilege of working with at the Kennedy Center American College Theatre Festival last week. Usually I'm loath to summarize the plot of a play, or to foreground my own political leanings in a review. But when the plot is a history, and our politics desperate, that puts one in a bind.

Kitchen-Sink Drama: The Gabriels: Election Year in the Life of One Family, reviewed.

Amy Warren, Maryann Plunkett, Lynn Hawley, and Meg Gibson in Hungry at the Public in 2016.

My review of playwright/director Richard Nelson's three-play cycle The Gabriels, which I took in during a single nine-hour period at the Kennedy Center last Sunday, is in this week's Washington City Paper.

PREVIOUSLY: I reviewed Studio Theatre's two double-features of Nelson's four Apple Family plays in 2013 and 2015.

Unsinkable? Unthinkable! Signature Theatre's all-singing, all-dancing Titanic, reviewed.

Christopher Bloch, Nick Lehan, Lawrence Redmond, and Bobby Smith in Signature's Titanic. (Christopher Mueller) 

Signature Theatre has revived Titanic, a multi-Tony Award-winning musical from 1997 that almost no one remembers. Apparently it was upstaged by some movie? My Washington City Paper review is here.