Wig Out! is beautiful, raw, and real. And magically human, bonding me to the sadness, joy, and fear of wonderfully deep characters. To be candid, this is a world—the underground Ball Culture—I knew nothing of last week but remain moved by what I have seen and blown away by its energy, power, humor, and depth.
Archives for July 2017
Lady Day at Emerson’s Bar and Grill (review)
Billie Holliday experienced extreme poverty, racism, sexual abuse, a drug addiction, and prison, yet still had a legendary career as one of the great jazz singers of the 20th century. If you want to understand why she’s still fondly remembered and loved more than fifty years after her death, head to Anacostia Playhouse for Lady […]
Horton Foote’s Night Seasons (review)
Night Seasons is forty years in the history of the unpleasant Weems family, reduced to two hours, more or less. Notwithstanding this compression, the two hours traffic of our stage seems longer, extended by playwright Horton Foote’s somnambulistic pacing, and further accentuated by the Quotidian cast’s generally hesitant delivery.
Lakeboat (Capital Fringe review)
Lakeboat was thought controversial when it debuted 40 years ago, but now it seems almost quaint, verging on classy. The very first script by David Mamet, it features many of the hallmarks of his style: vulgar language, clipped and repeated dialogue, and men being macho and misogynistic.
Fringe performer David Kessler’s worst cell phone moment.
It’s a sold out house, the second performance of Numesthesia, my third Capital Fringe Festival show. The audience is great. I’m feeling their energy; the musicians and I are riding a synergistic wave with them. We’re in the moment. We’re all helping each other. There’s a communal spirit that unites audience and performers.
P.I.C. : The Prison Industrial Complex (Capital Fringe review)
With P.I.C. : The Prison Industrial Complex, the Conciliation Project hits the cruelty of the American criminal justice system hard with just about everything they can throw at it: Scores of characters, plenty of song & dance, real last words from death row inmates, a talk show, a fashion show, a bonfire of strawmen, and […]
Lancer and Lace (Capital Fringe review)
What would have happened if Lee Harvey Oswald’s assassination had failed – but the danger wasn’t over? Lancer and Lace pulls on this historical thread and weaves an interesting yet uneven tale of politics, love, and conspiracy.
Oblivion, an unexpected pleasure (review)
When we are young we do not hide our naked souls from the Godlike scrutiny of our parents, so we do not lie about our thinking. We lie only about our acts. Since we are all sinners, our acts are shameful, but honest confession before our parents brings relief, and redemption. But as we grow […]
Trey Parker’s Cannibal! The Musical (Capital Fringe review)
A man wanders onstage, a mad look above his riotous beard. Another man comes on, petrified with fear, not seeing the disturbing maniac. With lightning speed, the bearded man pounces and tears a massive gash in his victim’s neck. Blood shoots everywhere while the cannibal gargles his hideous laugh, gore oozing down his gullet.
Think Before You Holla (Capital Fringe review)
Ally Theatre Company’s second-ever production is radically different from the first, Miz Martha Washington, a darkly comedic historical play. Conceived and directed by Taylor Reynolds from art series, social media, and conversations with friends, Think Before You Holla is decidedly modern. This devised play is made up of a series of snapshots, monologues, and brief scenes, […]
My Lack of a Social Life (Capital Fringe review)
Douglas Stafford is a very talented juggler. If that is an interest of yours, if you like juggling, and you’ve got an hour, then you may like this show. Stafford is pretty good as a magician. If you like sleight of hand, or watching a man swallow a balloon, then you may like this show. […]
Numesthesia (Capital Fringe review)
“Torture numbers,” author Gregg Easterbrook once wrote, “and they’ll confess to anything.” David S. Kessler, a masterful storyteller aided by onstage musicians and projections in his new show, Numesthesia, takes a decidedly kinder approach and allows them to speak for themselves.