It’s a miracle this play exists. The Oscar-winning 1954 movie On the Waterfront,  written by Budd Schulberg and directed by Elia Kazan, has reached iconic status as a Mob violence flick about an ex-prizefighter turned labor leader. [Read more...]

Arlington’s provocative American Century Theater opened its latest intriguing blast from the American past last weekend at Gunston Theater II. On tap this time: Jules Feiffer’s 1967 bizarrely witty comedy-drama Little Murders. [Read more...]

In the very first scene of Clifford Odets’ The Country Girl, Frank Elgin (Brian Crane), is auditioning for a play. In the course of improvising a character, he says: “I have to like him or I can’t get inside him.” This single line of dialogue turns out to be a harbinger for all that follows. [Read more...]

In Gore Vidal’s rarely mounted sci-fi, political satire, well-timed pyrotechnics have to run as smoothly as last week’s shuttle launch, and actors must have rapid-fire, elegant delivery. The American Century Theater skillfully rises to the challenge with an uplifting show that’s refreshing and fun, even in its darker moments. [Read more...]

The American Century Theater’s (TACT’s) current production of Stage Door at Arlington’s Gunston Theatre Two is a bit of a mess. Or at least it was last Saturday evening. That said, it’s frequently interesting, often amusing, and—albeit quite briefly—surprisingly sad. [Read more...]

Even the genius Eugene O’Neill, the only American playwright to be awarded the Nobel Prize for Literature, had a learning curve. And Director Kathleen Akerley, who has the courage to think outside the box and take humongous risks, tackles his great but flawed, three-act play. [Read more...]

The life and loves of Fanny Brice come alive in this stellar performance by Esther Covington who carries the show with charisma and charm, accompanied by talented musical director Tom Fuller.  This American Century Theater production captures the high and low notes of this icon who set the tone for modern screwball comedy.  As noted in some of the reference material, before there was a Lucy or Ethel, Gracie Allen or even Imogene Coco, Fanny Brice showed what could be done with a reaction shot, an exaggerated expression or a well turned phrase—she had a gift for comedy and could make ‘em laugh. [Read more...]

The Tenth Man is considered a curiosity in the catalog of the great writer Paddy Chayefsky, lacking the gritty realism of his famous early teleplays such as the classic “Marty” (later an award-winning film) or the sharp satiric edge of his later screenplays such as “Network” and “The Hospital”.  This dramatic-mystical-comedic-romantic-fable about the exorcism of a young Jewish woman possessed by a spirit or “dybbuk” is rarely performed despite receiving a 1960 Tony® nomination for Best Play. [Read more...]

Two attractive couples, conversation, alcohol, deep-seated unhappiness and betrayal abounding … nope, it isn’t Who’s Afraid of Virginia Wolf? It’s Serenading Louie, being presented with quiet style at The American Century Theater.  The sniping here is less vicious, the tension thick without the muffle…but there’s still a lot of Albee seen in playwright Lanford Wilson’s work. [Read more...]