Sunday, February 18, 2024
Neil Patrick Harris has directed a new, scaled-up production of Jonathan Larson’s musical “Tick, Tick … Boom!” at the Kennedy Center.
SOURCE: Washington Post at 06:54PMSignature Theatre’s “Private Jones” is based on the life of a solider in World War I.
SOURCE: Washington Post at 06:54PMFriday, November 30, 2018
Critic Chris Klimek offers a remembrance of the late illusionist, author and actor Ricky Jay, for whom he worked as a personal assistant over a decade ago.
SOURCE: National Public Radio at 10:42AMTuesday, February 9, 2016
One of TheatreWashington's most competitive awards can take a new theater company to the next level—but not always.
SOURCE: Washington City Paper at 04:02AMMonday, January 18, 2016
Collectively, this Shakespeare Theatre twofer is a wild, fun-filled riot with laughs aplenty for the whole family.
SOURCE: Washington City Paper at 03:44PMFriday, May 22, 2015
Half a century later, the play that gave Stoppard his start is as forbidding as ever.
SOURCE: Washington City Paper at 09:30AMThursday, May 21, 2015
Kimberly Gilbert, a D.C. theater stalwart, makes her Studio Theatre debut in a perfectly acidic comedy role.
SOURCE: Washington City Paper at 02:56PMMonday, December 29, 2014
The best theatre of 2014 wasn’t new. But a few premieres set for 2015 hold promise.
SOURCE: Washington City Paper at 06:11PMTuesday, December 16, 2014
The Old Trout Puppet Workshop's characters meet demise after lurid demise in a series of wickedly gratifying fake plays.
SOURCE: Washington City Paper at 02:15PMThursday, June 26, 2014
Kimberly Gilbert is one of the most versatile, fearless and reliably thrilling actors in Washington. Whether she’s playing the spinster held hostage by her wicked mother in The Beauty Quee…
SOURCE: Washington City Paper at 04:32PMTuesday, April 22, 2014
At last night's boozier, extra-festive, less-emphasis-on-the-awards-part Helen Hayes Awards at the National Building Museum, Signature Theatre walked away with the most trophies, a lot of pe…
SOURCE: Washington City Paper at 01:20PMTuesday, April 8, 2014
Weeknight tickets to Arguendo, an inventive but frivolous bit of comic theater derived from a 1991 Supreme Court case, start at $70, which works out to about a dollar per minute. No wonder W…
SOURCE: Washington City Paper at 12:10PMMonday, March 3, 2014
On the heels of what might be the worst show it's ever produced, Woolly Mammoth Theatre Company is bringing back one of its best: Stupid Fucking Bird, playwright Aaron Posner's irreverent up…
SOURCE: Washington City Paper at 02:29PMFriday, December 27, 2013
The Gershwins’ Porgy & Bess—which is to say, the 2011 opera-into-musical re-engineering by the playwright of Top Dog/Underdog and others—may indeed be a bastardization of a…
SOURCE: Washington City Paper at 05:56PMTuesday, December 24, 2013
What made 2013 a thrilling year on D.C. stages was precisely the thing that makes it admirably resistant to year-end trendspotting—the variety, rather than the number, of good shows on of…
SOURCE: Washington City Paper at 09:14AMWednesday, November 27, 2013
The Apple Family Plays have nothing do with iPads or MacBooks or the indignities visited upon those who assemble them. Richard Nelson’s quartet of hypercontemporary dramas attempt merely t…
SOURCE: Washington City Paper at 10:14AMThursday, December 27, 2012
The Million Dollar Quartet’s arrival at the Kennedy Center’s Eisenhower Theater is a sort of homecoming for the now five-year-old Sun Records musical: After an initial staging by Floyd M…
SOURCE: Washington City Paper at 11:00AMFriday, July 20, 2012
If you read all the way to the end of my recent cover story on divisive monologuist Mike Daisey's return to Woolly Mammoth Theatre Company — where he "birthed" his much-discussed show …
SOURCE: Washington City Paper at 03:17PMTuesday, July 10, 2012
When elements of Mike Daisey's monologue The Agony and the Ecstasy of Steve Jobs turned out to have been fabricated, journalists didn't line up to attack Daisey the way henchmen do in martia…
SOURCE: Washington City Paper at 10:58AMMonday, July 9, 2012
I've been thinking and writing about celebrated/despised monologist Mike Daisey's imminent return to Woolly Mammoth Theatre Company with a revised version of his Apple manufacturing expose T…
SOURCE: Washington City Paper at 06:23PMThursday, June 14, 2012
For their 2010 stage adaptation of Double Indemnity, David Pichette and R. Hamilton Wright went back to James M. Cain’s Depression-era serialized novel about an insurance agent who plots t…
SOURCE: Washington City Paper at 09:05AMTuesday, April 24, 2012
What lessons to draw from last night's Helen Hayes Awards at the Warner Theatre? There were only two ties—compare that to five in 2011. And no company dominated outright—although…
SOURCE: Washington City Paper at 04:11PMFriday, April 20, 2012
Watchmen author Alan Moore, whom many regard as the most fertile mind ever to devote itself to writing comic books, used to drive artists batty with his hyper-detailed descriptions of the ar…
SOURCE: Washington City Paper at 03:15PMWednesday, March 28, 2012
For me, the most interesting exchange in Mike Daisey’s hourlong public Q&A at Woolly Mammoth Theatre Company last night was the one I've transcribed below. I've indicated where I coul…
SOURCE: Washington City Paper at 02:29PMTuesday, March 20, 2012
Oh, Mike Daisey, why can’t I ever stay mad at you?
No, really, I can’t. That’s fine; there’s more than enough bile coming from everyone else to pick up the slack of my outrage defic…
SOURCE: Washington City Paper at 12:18PMMonday, March 19, 2012
The difference between “I saw it with my own eyes” and “I read it in The New York Times” is not thin, like the six-month-old MacBook Air I’m typing this on. It’s huge, like the …
SOURCE: Washington City Paper at 05:16PM 
