Choricius is the nom-du-web of a theater artist who has been involved in the Washington, D.C. scene in various capacities -- as actor, playwright, director, dramaturg -- for a number of years. Credits include Source, Woolly Mammoth and Le Neon Theatre. As a cultural historian and veteran of the Fulbright Program, he has devoted years of research to the performing arts of the Later Roman Empire (aka-Byzantium). In this bookish role he has translated, performed and published a variety of works from Medieval Greek. He holds a Ph.D. in Theater History, Theory and Criticism, and will soon be publishing his first full-length study on theater and ritual in Byzantium through a major university press in the UK. A Professor of Humanities, he currently teaches World Literature and World History in the greater Washington, D.C. area.
Teatro El Publico's production of Petra von Kant, which regrettably only saw two performances at the Kennedy Center's Family Theatre, is both a thoughtful exploration of humanity and a classic actor's vehicle. Featuring leggy poseurs, lavish costumes, wild hairstyles (thanks to a small vault's worth of wigs), the show is a fascinating character study, and a showcase for some of Cuba's most brilliant theatrical talent.BWW Review: Forum Theatre's NAT TURNER IN JERUSALEM an Unforgettable, Luminous Production March 21, 2018
If you think the late Texas-born playwright Horton Foote and his fictional home town of Harrison, Texas are little more than genteel curiosities, think again. In Quotidian Theatre's season-opening production of Foote's A Coffin in Egypt, we are confronted with a life that is complex, dark and unapologetic. The cordial but tough-willed Myrtle Bledsoe (played by Quotidean stalwart Jane Squier Bruns) is a well-heeled widow way past the age when she would care what anybody thinks.BWW Review: Restoration Stage Inc's THE VERY LAST DAYS OF THE FIRST COLORED CIRCUS a Fine, If Lengthy, Effort October 30, 2017
Steven A. Butler, Jr., a Maryland native, has a truly compelling story about his La Plata great-great grandparents, whose love blossomed when the Jim Crow, Blackface era was at its height. With talent and drive, they struggled against the odds and against an exploitative white manager to operate a touring circus featuring only performers of color.BWW Review: Synetic Theatre's PETER PAN is a Joyous but Mature Celebration of Neverland October 24, 2017
As effervescent and fun as it is filled with the world of ideas (and equations), 'Emilie: La Marquise du Chatelet Defends Her Life Tonight' is a heady evening, bringing a great women back to brilliant life both onstage and in our collective memory.BWW Review: The Mariinsky Ballet Stages LA BAYADERE October 19, 2017
What do you do, when you find yourself with a ballet artist who can seemingly levitate at will? A lithe male body that floats and leaps with such an airy insouciance it seems almost unfair he has to come back to earth? Answer: you seek out an equally lithe, supple prima ballerina whose talents match his, but with her own distinct gestural vocabulary.BWW Review: Keegan Theatre's STONES IN HIS POCKETS an Eye-Opening Visit to the Emerald Isle October 6, 2017
Stop for a moment to think how things have changed; how the election of Donald Trump and the imposition of a travel ban on Muslims and openly anti-immigrant, pro-white nationalist sentiment have torn away at the nation. It is no wonder that Akhtar's searing drama deserves its place on the stage right here, and right now.BWW Review: Rorschach Theatre's Revival of NEVERWHERE A Triumph of Fantasy Onstage September 8, 2017
Robert McNamara's current production gives us everything you need for an exciting evening of Shakespeare, even for those who wouldn't know a Colosseum if it dropped into their front yards. The combination of high-octane performers, solid in the pentameter and carefully directed, is thrilling to watch. You can't miss this one.BWW Review: Shakespeare Theatre's OTHELLO Still Stunning, Fresh August 19, 2017
If you're looking for new, compelling, finely-crafted plays, look no further than the Hub Theatre. Their recently-concluded run of Philip Dawkins' autobiographical tour-de-force The Happiest Place on Earth is more evidence, as if any were needed, that they are a company to be reckoned with on the Washington theatre scene. Not only do they have an unerring eye for innovative scripts, they know how to give their playwrights the high-value productions they deserve.BWW Review: Happenstance Theater's BON VOYAGE! A HAPPENSTANCE ESCAPADE a Perfect Summer Confection July 19, 2017
Happenstance's ensemble is chock full of talents, and when combined in a show like this it is impossible not to smile the whole way through. For kids you have slapstick, bad puns and the occasional chance for audience participation (we can make it rain, people). For adults you have visual puns from classic art, statues, and familiar French tunes that never go out of fashion.BWW Review: Unexpected Stage's OBLIVION a Spirited, Thought-Provoking Meditation on Modern Life July 17, 2017
How I Learned What I Learned was originally intended as a way for August Wilson to share the many colorful, real-life characters that informed his work. With Wilson's passing, others have stepped up to represent on his behalf; and Roundhouse is blessed to have Eugene Lee, a veteran of many of Wilson's plays, to perform the master dramatist's life story.