You might be tempted to dismiss Ulysses on Bottles as a niche-appeal “issue play,” but this first opening for Mosaic Theater since receiving the Outstanding Emerging Theater Company Award at last week’s Helen Hayes Awards shows why you would be wrong and why Mosaic will be an all-around heavyweight on the DC theatre scene for years to come.
Best arrive on time for Nearly Lear, a one-woman clownish Shakespeare adaptation blowing through the Kennedy Center for just this weekend. That’s not just because KC’s Family Theater may be the most Mussolini-esque of all houses in the DC area (they drop the lights the precise second the clock turns from 6:59 to 7:00).
It’s rare for traditional, big budget Shakespeare productions to find new angles on the major works of America’s most-produced playwright, and even more rare for those angles to work well without falling into “Why are we doing this again?” territory.
If you get too weirded out by the second song in Signature’s newest world premiere musical, Midwestern Gothic, where out-of-work mechanic Red takes Polaroids of his stepdaughter Stina in “A Million Poses” while she eggs him on by asking “Do you think I’m pretty?” you may have signed on to the wrong musical. Because it only […]
The hottest theater ticket in DC right now isn’t to a blockbuster musical, a star-studded Shakespearean play, or a big-time production already contracted to hit Broadway. The ticket everyone is clamoring for is Intelligence at Arena Stage, a world premiere political thriller which has already sold out and extended its run, even before it has […]
Six Degrees of Separation shares much in common with Catcher in the Rye, the novel at the play’s moral center. Both are full of terribly unlikable characters who can turn our loathing into self-reflection. Both turn a sad situation into something humorous, at least in their ability to elicit pathos. But most of all, they […]
American theater has been mucking about in the sandbox and, meanwhile, the playground, the school, and the entire world have been burning down around us. Those were my first thoughts after leaving Woolly Mammoth’s US premiere of Kiss – an enveloping feeling at once depressing and tantalizing.
“Will film kill off the the theater?” This question, often asked in existential anxiety by theatermakers at an undersold performance, may be the wrong one. That seems to be the message from Capital Fringe’s first ever self-produced program, FringePOP, an acronym for Performance Over Projection. This ambitious project rejects the premise of the opening question […]
Everyone remembers their first contact with death. I don’t mean Death, though I assume that first face to “face” meeting in the no-longer flesh is quite memorable. I mean the first prehumous contact with death of someone close, when the mind begins to grasp the shattering gravity of what it means to be gone forever.
There’s a certain somber and sober tone you expect from shows about disasters. Representations of recent genocides or terrorist attacks especially take on an almost religious nature, a hushed sacrality where emotional highs can only be wrenching and painful. Not so for East Coast premiere 9/11 musical Come from Away, a toe-tapping Stomp and Holler affair […]