As this year closes, perhaps you, like we, are thinking back over your own year spent watching the various riches spread before us by Washington area theatres. I asked our staff for their most vivid memories. We hope you will share your own as comments for us all to savor.
I’m retired now as a critic and when I see a play it is generally as a civilian. In days of old, I might see upwards of a hundred fifty plays a year, and the experience was as commonplace for me as swatting mosquitoes or filing lawsuits. It became like going to an art gallery; […]
One day, when Charles Fuller was in high school, he and a friend came across a poem by T.S. Eliot. “And it had this line,” Fuller recalls. “‘Do I dare disturb the Universe?’” He glances at the ceiling, as if considering the line again. “And we said, ‘Well, of course. What else is there to […]
Gidion’s Knot, Johanna Adams’ stunning confrontation between an elementary school teacher and the mother of a boy who had committed suicide, is one of six finalists for the $25,000 Harold and Mimi Steinberg/American Theatre Critics Association New Play Award, recognizing playwrights for the best scripts that premiered professionally outside New York City during 2012.
Heartless, Sam Shepard’s latest take on the human condition, will be one of five plays at the heart of the Contemporary American Theater Festival’s 2013 Season.
“This is the saddest play I’ve ever seen in my life,” a friend opined in the lobby of Shepherd University’s Frank Center. He is a theater professional, and has seen a lot of plays. But Gidion’s Knot, Johnna Adams’ stunning new play having its world premiere at the Contemporary American Theater Festival, is as sad […]
This year’s Contemporary American Theater Festival features two terrific world premieres, and when you go, you should make a point of sinking your teeth into each of them. Let us sink out teeth, now, into Barcelona.
The problem with history plays is one of time. In theatrical time, the greatest of problems are resolved in a hundred and fifty minutes or less. Across that tiny stretch of time we have conflict, rising acting, falling action, climax, catharsis, and all the other things Aristotle noted that we demand from our drama.
Attention, all ye parents of young children now pouring sweatily over your five-year-old child’s application to the day care center which will most help her get into the private school which will most help her get into the prep school which will most help her get into Harvard: Bob Clyman has your number.
In a forest dark and deep, lightning sunders nature’s sleep. The cabin lights flicker, and then go out – “why, it’s about us!” the audience doth shout. Could playwright Neil LaBute, whose plots are puzzlebook perfection, have written about us on the fly, in our heated lightless malefection?