One barometer by which you can gauge the impact of a play is by whether it can be interpreted in wildly different ways by different audience members. Woolly Mammoth’s production of Taylor Mac’s darkly absurd HIR, with its microcosmic collapse and reinforcement of the patriarchy within the claustrophobic confine of one suburban home is a brilliant […]
Taffety Punk Theatre Company’s new rep of healthcare plays—Mercy Killers and Side Effects, both written and performed by Michael Milligan – tackle the broken nature of America’s healthcare system—supposedly the greatest in the world. Side Effects focuses on the less-often-considered side of the doctor-patient divide—that of the burned-out physician, equally frustrated and thwarted by a broken system […]
“If you want to change something by Tuesday, theater is no good. Journalism is what does that,” playwright Tom Stoppard once said. “But, if you want to just alter the chemistry of the moral matrix, then theater has a longer half-life.” So, it’s a credit to Taffety Punk Theatre Company that their new rep of […]
“Sometimes, a greater truth is revealed when the facts are fuzzy,” says Rebecca Holiday (Natalie Cutcher) in the second act of Rorschach Theatre’s production of Randy Baker’s new play, Forgotten Kingdoms. It’s a line that not only resonates in our post-truth, “fake news” world, but perfectly encapsulates the story being told on stage.
“Is there anything more outrageous than an honest critic?” asks Karl Marx (Mary Myers) at one point during Nu Sass Productions’ presentation of Howard Zinn’s 1999 one-person show, Marx in Soho. Luckily for Nu Sass, this honest critic thinks the timely and timeless production is outrageously well done.
Science is real—and really dramatic—at the Edlavitch DCJCC, the home to Theater J’s latest production, The How and the Why. Written by acclaimed writer and producer Sarah Treem, whose credits include the hit TV shows The Affair and House of Cards, the play deals with everything from evolution and academia to feminism and family. If […]
History, they say, is written by the victors, which may be one reason why Euripides’s The Trojan Women is such a striking piece. By focusing on the women of Troy in the time between the fall of the city and their being taken away to a life of slavery on Greek ships, a different side […]
If you’ve never seen—or even heard of—Shakespeare’s Cymbeline, you’re in good company. One of the Bard’s least-produced works, the synopsis of the play’s plot would take up at least the length of this entire review, and that would only scratch the surface. Theatre Prometheus gamely tackles this challenge and offers the audience just enough of […]
Full disclosure: The synopsis for Cats Onstage!’s debut show, SpookyMsgPlsFWD!, mentioned unicorns, so I was already highly predisposed to liking it. Unfortunately, not even the presence of mythical beasts could rescue this dystopian parable from its muddled structure and technical mishaps.
If you’re the kind of person who rolls your eyes when you hear about an author in his or her mid-twenties receiving a lofty sum to write a memoir, you may initially be suspicious of the premise of 25-year-old Anna Snapp’s new autobiographical show, I Found That the Sun Will Rise Tomorrow.