Acclaimed playwright Athol Fugard knows only too well what was like to live in an oppressive police state, and has explored time and again the political struggles of black and white South Africans during his long career as a playwright, actor and director.
Those bad boys of abridgment, the Reduced Shakespeare Company, have struck again just in time for the big celebration of the Bard of Avon’s 400th anniversary celebration. This time their mixed up, verse-juggling, quick-change, three-person comic extravaganza proposes to be the premiere of William Shakespeare’s recently discovered first play.
Dial ‘M’ for Murder is not so much a “whodunit” as a “will-he-get-away-with it” thriller. But it kept audiences guessing in the early 1950s in London’s West End and later on Broadway. And it still works.
Heroes come in all shapes and sizes. Take Malala Yousafzai who was already making waves at age 11 in her native Pakistan, speaking out against the Taliban for limiting education for females. By 15, she had been shot in the head while coming home from her school, undergone numerous medical procedures and survived without brain […]
The critics are buzzing about Father Comes Home from the Wars (Parts 1, 2, and 3) at Round House Theatre. Deemed “challenging and beautiful” (Jonelle Walker, DCist), the play is “Verse on the plantation, prose on the battlefield, and blues guitar in between…. a miracle of contradictions and contrasts” (Brett Steven Abelman, DC Theatre Scene). […]
“It’s really raw and really real.” That is the quick summation offered by Johanna Day, one of the actresses helping tell the story of what happened in Reading, Pennsylvania when the economic downturn took a nosedive in 2008 leaving a community devastated by layoffs. But not just then, said Day. “This exact stuff is happening […]
Some plays are like symphonies or pops concerts, with many players, working in sync to tell a grand story. Others are like chamber music, smaller affairs where the ensemble has to be even more finely tuned. As a play, Lanford Wilson’s Talley’s Folly is like a niche within a niche.
The City of Conversation fits Arena Stage like a glove. The play itself brims with intelligence, bristles with conflict, and presents the fine art of political discourse in a town where such talk is as common as traffic on the Beltway.
When considering the new production of A Midsummer Night’s Dream now weaving a spell of enchantment and romance at the Folger Theatre, three words come to mind: fun, sexy and magical.
Between Riverside and Crazy presents a world of shades, uncertainties, and complicated relationships. Between the exchanges of rapid fire, often profanity laden dialogue and sometimes scathing speeches, there sit stunning silences that speak volumes.