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Renata Veberyte Loman narrates Synetic Theater's new adaptation. (Johnny Shryock)
My review of Synetic Theater’s fresh and frightening new adaptation of the 275-year-old French fairy tale Beauty and the Beast is in today's Washington City Paper. Grrrrrr.
Beau Mirchoff has the cheek to try to play a tough-guy lead in Poker Night.
I don't know anything about poker, but I gave writer/director Greg Francis' feature debut Poker Night 2.5 out of a possible five starts for The Dissolve. Which according to this ranking of various hands in poker, makes it the equivalent of a straight.
Sorry about the gross photo. I didn't have many choices.
We take you once again to the studios of WETA, where I was delighted as ever to join Around Town host Robert Aubry Davis and Washington Post arts writer Jane Horwitz for on-message discussions of two shows I recently reviewed for the Washington City Paper. We covered Theater J’s production of Tony Kusher’s latest play, the exhausting (deep breath) The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures, as well as Arena's square and satisfying production of Fiddler on the Roof – my first. That's the one I'll be sending my folks to see for Christmas.
Read MoreAmrish Puri rips out the heart of mainstream cinema in 1984's Temple of Doom.
To wrap up The Dissolve's Movie of the Week examination of Joe Dante's Gremlins, Keith Phipps asked me to write a reflection on the PG-13, the lukewarm rating introduced in the summer of 1984 in response to the outcry that greeted the PG-rated Gremlins' violence and darkness, as well as that of Indiana Jones and the Temple of Doom, released two weeks earlier. I was honored to oblige.
A surprising, random fact of which I was unaware: Gremlins, a horror comedy and the fourth-highest grossing film of 1984, was released the very same day as that year's second-biggest hit, Ivan Reitman's horror comedy Ghostbusters. That would never happen now, and yet apparently it didn't hurt either of those films back then. Neither of them could out-earn Beverly Hills Cop, however. The fact an R-rated action comedy was the biggest hit of the year is another reminder of how much Hollywood has changed in a generation-and-a-half.
Tom Wiggin, right, is the emotional anchor of this discursive and pointy-headed gabfest.
My review of Theater J's production of Tony Kusher's latest play, (deep breath) The Intelligent Homosexual's Guide to Capitalism and Socialism with a Key to the Scriptures, is in today's Washington City Paper, just in case your own family's arguments aren't sufficiently academic and orotund and insufferable enough for you. Good performances, though. Happy Thanksgiving.
Hannah Corneau as Hodel & Jonathan Hadary as Tevye in Arena's Fiddler. (Margot Schulman)
My review of Molly Smith's reverent, just-the-facts-Ma'am Fiddler on the Roof – my first – is in today's Washington City Paper.
Kevin Connelly & Tom Berenger arrange one of those popular public readings of self-help books.
It's no Jack Reacher, this star-studded, tone-deaf ensemble drama. Reviewed for The Dissolve.
For more on how abysmal I am at looking into a camera and smiling when someone says my name, we take you now to the studios of WETA, where I was pleased to join Around Town host Robert Aubry Davis and Washington Post arts writer Jane Horwitz for very brief discussions of three shows I recently reviewed for the Washington City Paper, starting with my favorite of 2014, Signature Theatre's production of Laura Eason's Sex with Strangers.
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