The Golden Smile is controlled, constructed chaos, a perfect orchestration of madness. It is terrifying and marvelous all at once. Theatre of the absurd in a mental hospital.
Archives for July 12, 2016
35MM: A Musical Exhibition is a series of seriously show-stopping tunes, delivered by a talented cast and live 6-piece band. Written by the incredibly talented songwriter Ryan Scott Oliver, each song has a photograph that goes along with it, projected on a screen behind the actors. The songs explore everything from the tribulations of being a nanny […]
I’ll be honest: I’m not usually a fan of interpretive dance. Most of the time, it’s nearly impossible for me to tell what’s being interpreted without having read it in the guide, which means that even if it’s aesthetically pleasing, it often feels random.
Holy. Crap. “You don’t hear this kind of talk in the theatre. Let alone a Fringe show.” No, really. Holy crap. This might be the best Fringe show I’ve ever seen.
Apologies to the one Trump fan who goes to DC theatre and is reading this, but there is perhaps too much wrong, unbelievable, or historically unprecedented about The Donald’s candidacy to fit in one theatre piece.
Take your protein pills and put your helmet on! This may be your only chance to see a Fringe production transmitted via Bio-Hologram, and definitely the only Fringe show featuring a member of the new wave band, The B-52’s. A Romp Around Uranus with Special Agent Galactica is an intergalactic cabaret, concocted by the incomparably […]
If you like your house decorated with dysfunction, madness, incest, and heightened dialogue, come visit The House of Yes.
Where can you experience the world premiere of a musical with songs by a 4-time platinum artist for only $17 a pop? At Capital Fringe, of course, with Song Reader: the Musical, an earnest and poppy take on a classic-story combo from a fresh-faced young theater company.
Two years ago at CATF, playwright Chisa Hutchinson caused a stir with her rich and raucous two-character dramedy Dead and Breathing, about the right to die and the haves versus the have nots.
Plays involving religion often have a defined point of view that can make them predictable and boring. Yet nothing is predictable or boring about Helen Pafumi’s world premiere Redder Blood, an intelligent and funny rumination on interfaith relationships and our relationship with God.
Some people who talk about Fringe offer a warning: it’s uncurated. Anything could get produced. The implication, of course, is that curation is needed to prevent bad art from getting through to where the innocent eyes of the public might accidentally see it. Even if that were true (it’s not), then we’d still have the […]
If Wendy Wasserstein were alive and well today, you’d imagine she would be writing such warm, witty and cannily perceptive plays as Susan Miller’s 20th Century Blues, a world premiere at CATF under the assured direction of Ed Herendeen.