It Will All Make Sense in the Morning opens like a nightmare, with a stunning projection of an ominous tree, followed by an off-kilter conversation about the perils of yard work that awakens a gurgling offstage worm monster. Although this opening promises 70 minutes of quick and uneasy oddities, however, the production never wholly taps […]
The tagline for Cracked is “Love. Faith. Motorcycles,” but bikers be warned: this is not the wind-in-your-hair anthem that you might expect. Nor is it a biographical examination of masculinity and fatherhood, as playwright and director Marcus Salley attests in his program note. Cracked is not what The Rude Mechanicals of Fredericksburg describe—but what the […]
Complexity: A One Woman Show opens with as time-tested and predictable a setup as a musical can muster: a naively bright-eyed woman moving into her first New York apartment. It’s a narrative we’ve seen time and again, from Sex and the City to Avenue Q, and it takes a particularly crafty, nuanced humorist to rework […]
Sometimes, if you’re lucky, theatre lulls you into a sense of silly, charming fun—then warps your brain, makes you squirm, and spits you out in less than 40 minutes. In a Day of Dreary is one of those plays.
They might not be sporting doublets and hose, and modern day expletives might weave their way into Shakespeare’s elegant verse now and then, but the performers of R+J: Star Cross’d Death Match are using nontraditional means to achieve a very traditional end. They are performing Shakespeare the way it was originally intended: raunchily, unapologetically, and […]
Set in a very particular world with a very particular social and political structure, Córiolanus is not a play that lends itself particularly well to a “concept.” As director Elena Velasco proves with Elysian Theatre’s production, however, sometimes all it takes is a few strong casting choices to reinvigorate an otherwise straightforward Shakespearean tragedy.
With a wife devoted to quinoa and Whole Foods, a husband who loves poking jabs at the Washington Post, and two kids who hate looking up from their cell phone screens, Bethesda pays plenty of homage to its titular Maryland locale. But Jennie Berman Eng’s dark comedy isn’t a big-picture commentary on a place and […]
Wandering Theatre Company’s Antigone opened, as one might expect, with a chorus. The two chorus members (Clemmie Evans and Jenna Krasowski) are clear, haunting, and deliver their lines in-sync about a third of the time.
Sylvia Plath, the quintessential female voice in the face of 20th century patriarchy, serves as a chilling foil to the heroine in Jonelle Walker’s TAME. The tragic poet’s voice fills the space during scene changes, reminding the audience of the constrictive world in which her onstage counterpart is struggling to survive.