What if our personal lives were up for discussion between meddling neighbors? What if two opposing facts could be true at the same time? What if “truth” were whatever we wanted it to be, acting as a fabricated idea to make life simpler?
“This is the end for me,” said Gloria (Temple Fortson) recounting her maturing daughter ignoring her after the school play, “Soon I’ll be the enemy.”
A murder mystery dance show? As the curtain rose, I’d already made one critique: murder mysteries are too detail-oriented to work as dance. (There’s a reason why ballet plots are usually broad.) How can the “Aha!” Raymond Chandler moment possibly reach the audience?
Tour de Farce is proof that playwriting is no easy task. Its lack of craft, cohesion, and contrast make it seem like a self indulgent, tedious conversation among close friends who aren’t including us.
Poor Bob. Interactive theatre doesn’t bode well for the shy. Improv artists Rodrigo Pool and Carrie Helton Parsons, acting brilliantly as vicious, coked up radio anchors, selected an audience member to answer questions (“HEEEEEY BOB. What’s your favorite household appliance?!”). Bob’s answers shaped the show, and in this case, inspired a dishwasher commercial.
My notes from opening night: “Funny lime slicing.” “Pretty awkward. Is it supposed to be this way?” “Why do gay men like country music?” “Okay, they are officially screwing with us.”
It’s delightful sitting in the audience knowing you’re about to write a rave. You relax knowing you have plenty to write. Words will come easily. And in the case of this weekend’s UrbanArias performance, you put your pen down and roll your head back laughing. John Musto’s Bastianello and William Bolcom’s Lucrezia, commissioned and first […]
Unlike most twenty-somethings, I like a side of stellar theatre with my shots. Nameless Theater’s production of A’Leighsha C. Butler’s play Last Call opened in Adams Morgan last week to a full and vibrant house – so of course I was in the audience.
tick, tick…BOOM! is a bold choice for an inaugural production, but it says a lot about the kind of theatre company Alexandria, VA-based QuackenSteele Theatre Company aspires to be.
Taffety Punk Theatre Company’s “Rulebreaker Rep” — directed with a clear vision by Lise Bruneau — focuses on rebellious and freethinking writers throughout history. It questions the meaning and obligations that come from claiming the word “artist.” Is the artistic lifestyle harming society or is society hindering the artistic lifestyle?