How Shakespeare Saved My Life Twitter/X Theatre Review

Jacob Ming-Trent in the world premiere of How Shakespeare Saved My Life at Folger Theatre. Photo: Erika Nizborski

Shakespeare or Die

I admit: I’m often skeptical of a “one-person show.” The pressure (on the performer) is intense, and the risk for overcompensation… even greater. And then I saw 👀 @jacobmingtrent1 perform How Shakespeare Saved My Life at @FolgerLibrary. His solo testimony to the congregation (our lucky 🍀 audience) is both heartfelt & mesmerizing without the slightest hint of unease or vanity. For an hour & a half, Jacob dazzles with music, stories and (most importantly) words. Said words are bursting with honesty & instruction, a rare combination on any stage. You’ll likely cry, laugh & smile (in some awesome combination) but the bottom line is, this is the best performance of the year. Can’t wait to see him again.

Grade: A+

Othello Twitter/X Theater Review

Ben Turner & Wendell Pierce (r) in Othello at Shakespeare Theatre Company. (Photo: Teresa Castracane)

O Curse of Marriage

Othello. A play I've seen at least a dozen times, yet it never ceases to amaze (and delight) me. It plays out as a tale of two characters, Iago & Othello, apparent best friends & (unknown to the latter) simultaneously mortal enemies. @ShakespeareinDC's latest rendition (directed by Simon Godwin) showcases its finest paring yet, Ben Turner & @WendellPierce, as Shakespeare's oddest (but most significant) stage couple. Pierce's range (equal parts amorous, playful and possessive) dazzles, as does Turner's relentless one-note of betrayal. It's an awesome combination that mesmerizes so much as it entertains. The end result is 2+ hours of deception, stealth and top-notch entertainment. STC does it again!

Grade: A-

Paranormal Activity Twitter/X Theatre Review

Cher Álvarez & Travis A. Knight in Paranormal Activity. (Photo: Teresa Castracane Photography)

F the Bogeyman

Every now and then, we’re reminded how important and impressive live theater can be. @ShakespeareinDC’s Paranormal Activity is one such example. Who needs CGI when you’re blessed with Anna Watson’s superb lighting and Fly Davis’ scrumptious 2-story set? It’s a theatrical double play to the 10th power, promising chills & thrills, yet somehow managing to over-deliver. Our opening night audience produced a nonstop barrage of gasps 😱 oohs and ahhs, as we sat in uniform anticipation of the next frightful moment. The relatively small cast delivered as well, led by Cher Alvarez (Lou) & Travis A. Knight (James) as a perfectly believable married couple on the brink of… something. What that something is, deserves (nay, demands) your attendance and attention. Paranormal Activity takes care of the latter: You get the privilege of providing the former. Enjoy!

Grade: A

The Wild Duck Twitter/X Theatre Review

Maaike Laanstra-Corn stars in STC's The Wild Duck (Photo: Gerry Goodstein)

Chronic Righteousness

Arthur Dobrin once said, "There is always a way to be honest without being brutal." Evidently Gregers Werle didn't get the memo. The brazen character sheds light on unwanted truths in @ShakespeareinDC's The Wild Duck, based on Henrik Ibsen's under-appreciated 1884 play. It's brought to life by a superb cast, most of whom are making their STC debuts: One can only pray they all return (and soon.) Tops amongst them is DC's own Maaike Laanstra-Corn, who is nothing short of stunning as the passionate teenager Hedvig. And she's not alone. Alexander Hurt, Melanie Field and Nick Westrate join her as my favorite theatrical foursome in recent memory.

Merry Wives Twitter/X Theatre Review

Felicia Curry & Oneika Phillips (r) star in Merry Wives (Photo: Teresa Castracane Photography)

Hell Yeah!

This year’s @ShakespeareinDC 40th anniversary season has been extra special so far, continuing with Jocelyn Bioh’s unrivaled good time, Merry Wives. It’s a vibrant reinterpretation of The Immortal Bard’s The Merry Wives of Windsor, set in present day Harlem with a dazzling myriad of players Hell-bent on having a good time (while taking us along for the ride of a lifetime.) It’s guaranteed to make you clap, snap and laugh your YKW off, with nary a negative thought 💭 which is exactly what we need in DC right now. Taylor Reynolds directs a stunning game plan, carried out by a cast with no weak spots. Everyone involved deserves a standing ovation.

Grade: A

Duel Reality Twitter/X Theatre Review

Cast of Duel Reality (Photo: Zemi Photography)

Blue v Red

Romeo and Juliet meets @Cirque du Soleil in @ShakespeareinDC's jaw-dropping Duel Reality, directed by Shana Carroll @The7Fingers. The 90-minute production is light on words, but loaded with acrobatic hula hooping, juggling and a seesaw battle for the ages, not to mention one of the sexiest midair spectacles (Gerardo Gutierrez & Michelle Hernandez) we've ever seen. If this is Shakespeare's new direction, count us in!

Grade: B+

Frankenstein Twitter/X Theatre Review

Rebecca S'manga Frank in Frankenstein at STC, Photo: DJ Corey Photography

The Truth Is...

Mary Shelley's Frankenstein is one of the best novels of the past 200+ years. Emily Burns' version for @ShakespeareinDC is a refreshing reboot that honors the original, while placing less of an emphasis on the creature, and more on personal relationships. That may not sound like fun to horror fans, but thanks to Rebecca S'manga Frank's coruscating performance as Elizabeth, the end result is miles better. One can only hope Ms. Frank stays in the DMV, allowing a "star to be born" in our own backyard. Burns' direction is first rate also, especially a pair of dazzling intercutting scenes with Dr. Frankenstein. A bona fide must-see! 

Grade: A

Red Velvet Theatre Review

Amari Cheatom stars in Red Velvet (Teresa Castracane Photography)

"It's Very Othello"

Ira (Amari Cheatom, in a dazzling turn) declares, "That's the beauty of Shakespeare. He unnerves you." Jade King Carroll's Red Velvet captures that sensation (and so much more) in her STC directorial debut, now playing at the Michael R. Klein Theatre at the Lansburgh, through July 17th. Lolita Charkrabarti's play (which debuted only 10 years ago) tells the story of the first African-American actor to play Shakespeare's Othello. The aforementioned Cheatom plays that role (to a tee) with the finest performance I've seen all season. His character asks for vigilance and a "taste of home," but it's his confidence that resonates throughout, a sheer will to educate and perform that earns kudos such as, "Your life is filled with spectacular occasion." Spectacular indeed.

Our Town Theatre Review

Holly Twyford (center) and the cast of Our Town (Teresa Castracane Photography) 

The Way We Were

Grovers Corners, New Hampshire, circa 1901 (and beyond.) A nice town, where folks "like to know the facts," and where the dishes are done by 2:00 in the afternoon. Not exactly present day DC, but in the capable hands of director Alan Paul, a wonderful place to visit. Thornton Wilder's Old Town is three acts of life in the slow lane, minus the mundane. The second-to-last production of STC's 2021-22 season manages to exceed expectations at almost every turn, including our press night preview, which featured six (yes, six) understudies without so much as a hiccup. If you're keeping score, that's STC 1 COVID 0.

The King's Speech Theatre Review

Nick Westrate stars in The King's Speech (Photo: Liz Lauren)

A Last Resort

King George V (John Judd, in a riveting, all-too-short performance) declares, "Sitting on thrones is our business." Unfortunately, passing the torch proves troublesome in David Seidler's The King's Speech. One son (Jeff Parker as David) doesn't want it. The other (the eventual King George VI, played by Nick Westrate) can't finish a sentence without stammering. Fear not Blighty. Where there's a will, there's a way; and with the help of an aspiring actor/speech therapist, Westrate's Bertie goes about the arduous task of perfecting the art of speech. It made for a great movie, but director Michael Wilson's version lacks the Oscar-winning film's charm and energy, resulting in a "fine" play, but far from memorable.

Richard the Third Theatre Review

Matthew Rauch stars in Richard the Third (Photo: Scott Suchman)

Oh, Bloody Richard!

Last season's STC production of Hamlet (our top show of 2018) took a brooding young prince, and transformed him into a playful assassin. In contrast, David Muse's Richard the Third tackles Shakespeare's most ruthless character (Richard of Gloucester) and makes him even nastier. It takes some time (two longwinded chats between Richard and Lady Anne & Lord Hastings) but once the killing begins, there's literally no turning back. One by one, Richard's enemies (perceived and otherwise) are picked off with increasing brutality and lack of remorse. Callousness is expected, but the weight of all this death becomes overwhelming, especially in the play's second half.

Melancholy Play: A Contemporary Farce Theatre Review

Billie Krishawn (r) stars in Melancholy Play: A Contemporary Farce (Photo: DJ Corey Photography)

A Defense of Melancholy

Merriam-Webster defines melancholy as, "a depression of spirits," which isn't necessarily my idea of a good time; but (rejoice, rejoice) the Constellation Theatre Company's 2018-19 season opener is anything but depressing. In fact, Sarah Ruhl's Melancholy Play: A Contemporary Farce is downright playful, with an abundance of energy, laughs and optimism, tucked inside a tidy 95-minute runtime. Credit director Nick Martin and a superb six-person ensemble, led by the magnetic Billie Krishawn (a star in the making) for transforming Jonathan Dahm Robertson's skeleton set into an ebullient hub of activity and unrequited love. Who knew a bank teller, hair stylist, nurse, psychologist and tailor could be so interesting?

Hamlet Theatre Review

Photo of Michael Urie as Hamlet in Hamlet by Scott Suchman

Break His Heart

This isn't your parent's Hamlet (Mel Gibson, Kenneth Branagh) nor it is a reincarnation of Sir Laurence Olivier's 1948 Oscar winner. Director Michael Kahn has decided to go in a totally different direction, and the results are magical. No easy task, considering this might be William Shakespeare's most interesting character (and perhaps play.) Credit Kahn, and Ugly Betty star Michael Urie for a refreshingly brazen and comedic take on everyone's favorite Danish prince. Unlike his predecessors, Urie's Hamlet doesn't have time to brood or reflect. He's too busy plotting revenge, and dominating the stage in the process. His performance is so delicious (and playful) we might have to start giving out stage awards this year.

The Skin of Our Teeth Theatre Review

Tonya Beckman & Lilian Oben (r) star in The Skin of Our Teeth (Photo: Daniel Schwartz)

Enjoy Yourselves

I was curious to see how the normally (and thankfully) playful Constellation Theatre Company would tackle Thornton Wilder's The Skin of Our Teeth. The play's third act alone, can test the patience of any sane theatergoer, especially one who prefers humor over drama. Lucky for us, director Mary Hall Surface brings the funny... two superb acts of smart comedy that allow its stars to shine brightly, even in the face of oncoming catastrophes (ice age, flood, war.) Fear not tragedy lovers, there's still numerous veiled (and not-so-veiled) Biblical references to question the fate of mankind; but for those of us who like to sit back and be entertained, there's plenty to admire.

Twelfth Night Theatre Review

Bhavesh Patel stars in Twelfth Night (Photo: Scott Suchman)

Fly Me to Illyria

Lost meets Shakespeare in director Ethan McSweeny's creative Twelfth Night, one of this year's best (and most entertaining) productions. It opens with a literal bang, before delving into a world of mistaken identity, mockery and (of course) romance. Make sure to arrive early, to revel in Lee Savage's lavish set... a bustling airport departure lounge (literally surrounded by audience members) that oozes energy. In fact, I can't recall a better beginning to any production in years. The glad tidings don't stop there. Bhavesh Patel, Heath Saunders and Derek Smith deliver sterling performances that are equal parts colorful and terrific. Saunders is especially brilliant as the musical court jester who "takes pleasure in singing."

Rent Theatre Review

The Company of the RENT 20th Anniversary Tour, at National Theatre (Photo: Carol Rosegg)

Born to Be Bad Good

Benny (Christian Thompson) declares, "Bohemia is dead." Maybe, but there's still plenty of life in Rent, as evidenced by its 20th Anniversary Tour, which just opened a five-day engagement at the National Theatre. Jonathan Larson's beloved rock musical has earned four Tonys (including Best Musical) a Pulitzer Prize and a motion picture adaptation. Lofty praise, but until last night, I never considered myself a fan (yet alone a Renthead.) Evan Ensign (and choreographer Marlies Yearby) managed to do, what three prior live performances failed to... make it fun. The show remains full of heavy material (death, drugs, homelessness) but it no longer overshadows the human side of Rent.

The School for Lies Theatre Review

Cody Nickell stars in The School for Lies

A Sea of Lies

David Ives and Michael Kahn strike again! The School for Lies, based on Molière's The Misanthrope ends The Shakespeare Company's 2016-17 season with a 90-minute laugh-out-loud-athon. Ives manages to makes poetry fun again, part blue blood banter, part Wild 'n Out. Not exactly a match made in Theatrical Heaven, but hilarious all the same. Credit a superb cast, led by Victoria Frings (Celimene) Gregory Wooddell (Frank) and scene-stealer Cody Nickell (Philinte) who toss verbal grenades (along with knowing winks) at each other all night. The production literally flies by, and is surprisingly easy to follow (despite the aforementioned poetry/verse.)

The Arabian Nights Theatre Review

Ryan Sellers, Surasree Das, Veronica del Cerro (r) star in The Arabian Nights (Photo: Daniel Schwartz)

Queen for a Night

Never underestimate the power of a good story. Allison Arkell Stockman's The Arabian Nights is a terrific way to wrap up the Constellation Theatre Company's 10th anniversary season. Despite a relatively bare bones (but effective) set, Stockman and her players spin a thousand and one yarns, each one funnier and more captivating than the next. No easy task, given the play's violent basis (scorned King marries, loves and kills a virgin every night. Ouch.) Ryan Sellers is fantastic as the aforementioned King (Shahryar) who meets his match in Veronica del Cerro's Scheherezade, a quick-thinking/sultry storyteller who tries to end the carnage (and perhaps find love in the process.)

Peter and the Starcatcher Theatre Review

Michael John Casey shines in Peter and the Starcatcher (Photo: Daniel Schwartz)

God Save Her

"The Stache is on everyone's lips." As well he should be. The he in question is Michael John Casey who plays Black Stache, the unequivocal star of the Constellation Theatre Company's Peter and the Starcatcher. His performance alone, is worth the price of admission... equal parts dastardly, electrifying and hilarious. As luck would have it, he's not alone. The play, directed by Kathryn Chase Bryer and based on the Dave Barry & Ridley Pearson novel has multiple laugh-out-loud moments, carefully executed by an energetic cast, heck-bent on pushing the boundaries of our imagination. With a few exceptions, it works superbly.

King Charles III Theatre Review

Jeanne Paulsen & Robert Joy (r) stars in King Charles III (Photo: Kevin Berne)

A Time of Change

Who hasn't wanted to peak inside the hallowed halls of Buckingham Palace? The American Conservatory Theater's production of King Charles III (directed by David Muse) does just that, poking fun at some of its most beloved residents, while addressing the (presumably scary) prospects of a post-Elizabeth II regime. Robert Joy shines in the titular role, despite his character's numerous insecurities and shortcomings. Charles complains incessantly, lamenting his lot in life, "My life has been a lingering for the throne." When pressed into action, he acts impulsively (i.e. dissolving Parliament) but as the play moves along, he begins to settle in. Joy's come a long way from The Hills Have Eyes, and capably carries most of the production. Unfortunately, the same can't be said for the rest of the cast.