Andrew White - Page 7

Forget the Cherry Blossoms, folks, they'll be gone before you know it. Brave Spirits' Histories rep, cultivated, rested and ready, will be where it's at when our theatres re-open. Their a?oeHenry the Fifth,a?? as with all the other plays in the current cycle, is full of surprises and fresh interpretations. It is clear that the Histories Repertory will wrap up a few loose ends, while pointing towards contentions and bloodshed to come.

Eduardo Machado's Celia and Fidel, set at the beginning of the Mariel Boatlift crisis in 1980, explores the bravado, self-delusion, frustration and paranoia that were the hallmarks of Fidel Castro's rule over Cuba. Director Molly Smith has worked her cast into a taut, suspenseful emotional pitch, with nuances galore to enjoy and contemplate.

With the mayhem, warfare and epic egos of Henry the Fourth, Part 1 well under their belts, Brave Spirits Theatre now turns its talents towards one of the more challenging history plays in Shakespeare's canon, Henry the Fourth, Part 2. Director Charlene V. Smith continues to find new gems here among the many performers, and there are some moments that truly shine here.

This is the second installment in Charlene V. Smith's four-play repertory project, and judging from the quality of the work here, Washington theatregoers are in for a truly rewarding experience of the Histories, well into April. Brave Spirits is well on their way to one of the more vital repertory seasons inside the Beltway that we have seen in quite some time.

Recent Tragic Events, now being staged some 18 years after its premiere, is a piece that has matured beyond its original context. And Prologue Theatre's top-notch production argues convincingly for its endurance on the stage for years to come.

One of D.C.'s finer classical companies, Brave Spirits, has embarked on a two-year repertory of William Shakespeare's history plays. Leading off this ambitious project is Charlene V. Smith's razor-sharp production of a?oeRichard II.a?? Smith has assembled a cast that is assured in its understanding of Shakespeare's language; more importantly, she has nurtured some of the most creative, nuanced readings of the Bard's famous speeches I have ever heard.

Directors Steven Scott Mazzola and Timothy Nelson have created a deeply moving, broadly staged version of a piece that was originally designed for the concert hall. In moving the singers throughout the vast, acoustical gem that is the Foundry United Methodist Church, you are surrounded (literally) by actions that are as contemporary as you can possibly imaginea?'and imagine you will.

If the holiday cheer seems beyond your grasp, the British Players have just the ticket; this year's 'Alice in Wonderland: A Traditional British Panto,' comes complete with a fractured take on a beloved tale, cross-dressing actors, and opportunities galore to participate in the action. Chock full of familiar tunes for young and old to sing along, this is truly a family affair, with performing families onstage mirroring the families in the audience, and more than enough fun for all.

Chandrika Tandon's song-cycle, Shivoyam-The Quest, which recently touched down at the Eisenhower Theater at the Kennedy Center, is part oratorio, part jam session, part spectacle, and organized around the many steps to enlightenment she experienced. It's not prescriptive-not a 'how to' manual, as much as a travelogue, with a number of beautiful stops along the way.

The setting for Richard Clifford's production of Amadeus, Peter Shaffer's classic, modern revenge tragedy could not be more skillfully assembled, and Clifford has created a taut, compelling evening for Folger audiences that remind us how shockingly contemporary the play's themes are.

Prologue Theatre is putting its own stamp on a play that has acquired a huge cult following over the years, especially within the LGBTQ+ community. Bristling with edgy, memorable performances, the cast takes you right back into the hell of those teenage years, when hurting people, both physically and emotionally, is done as casually as ordering a latte or chucking a tater tot across the cafeteria.

It won't be the novelty of these plays that will continue to draw us to Wilson's compelling portraits of the Hill District in Pittsburgh; it will be his indelibly drawn characters given new life by artists putting their own personal stamp on his work. August Wilson is meant to be savored live; he can't be contained in a damned DVD box. And with local heroes like Craig Wallace and Erika Rose as the headliners, it's not to be missed.

This production of Shakespeare's Othello has revelations galore, performed by an ensemble of actors whose comfort with the language and emotional power keep you riveted. Even if you've seen any number of Othello's beforea?'especially if you've seen a fewa?'the Riot Grrrls interpretation, as staged in the spartan Capitol Hill Arts Workshop space, gives vivid life to characters and speeches that usually get lost in the cavernous main stages across town.

With this production of Jitney you're not just watching a play; you are immersing yourself in Wilson's world. And what a rich world it is, with folks dropping in and out, gossiping, swiping at each other, arguing, plotting, dreaming. You come to know and love every one of them; that love, however, tempered by the realization that Death hovers over these men and women, biding its time and waiting to swoop down and snatch his prey.

Theatre Prometheus has taken over the Capital Hill Arts Workshop space for a couple weeks, and has done Adams proud. Director Chelsea Radigan has assembled a fine cast who gives Or, its best shot. Led by the assured, charismatic Dina Soltan as Behn, you get a taste of adventure, intrigue, sex (well, yeah, it's the 60's) and plots - of the 'bang bang, you're dead' variety, not just the drama kind.

Richard Byrne's latest effort, An Evening With Lola Montez, is as intricately-constructed a play and persona as you can possibly imagine, and actor Mary Murphy personifies to perfection the low-born Irish divorcée who became a sensation through little more than grit, and a determination to rise above her wretched circumstances.

With a little raunch and a lot of heart, If These Balls Could Talk! gives you a glimpse of the performer's life in the big city; it's a whirlwind tour, and well worth the ride. Valentino's charisma and her ease with the audience are wonderful, evidence that we indeed have a seasoned performer who knows her way around the warm lights downstage. She also generously brings audience members up onstage to be part of the fun-so come prepared for some good-humored ribbing with your entertainment!

Director Megan Behm has embraced the world of old French farce, and crafted a contemporary satire that is as frenetic and slap-stick as it is wickedly witty. Minnicino's rhyming couplets constantly leave you gasping for breath with laughter, and every single member of the cast has honed their characters to their sharpest comic edge. There isn't a moment, a word, or a gesture wasted, and the way the actors literally throw themselves into their roles is a pure joy to watch.

Can a show about death and dying leave you dancing in the aisles? Well, actually it can - and blowing bubbles and tossing beach balls in the air, too. Fur real. Just come on down to Bethesda's Writer's Center for Flying V Theatre's latest offering, New York playwright Young Jean Lee's We're Gonna Die. Flying V company member Farrell Parker takes you on a young woman's gut-wrenching journey, punching back at every piece of rotten luck that comes her way.

Scena Theatre's artistic director, Robert McNamara, offers us a fresh look at some of Pinter's sparsely-written, tightly-plotted dramas-- and the American stage premiere of the postumous 'The Pres and the Officer,' which anticipates (sadly) the misrule of our current Commander in Chief.