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.

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.

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.

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.

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?

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.

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.

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."

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.

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.)

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.)

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.

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.

Gregory Linington & Holly Twyford (r) star in Edward Albee's Who's Afraid of Virginia Woolf? (Photo: Scott Suchman)

Wickedly Good

"Martha's a devil with language." Is she ever. Four-time Helen Hayes Award winner Holly Twyford comes the closest (I've ever seen) to matching the immortal Elizabeth Taylor's Oscar-winning performance in the 1966 cinematic adaptation of Edward Albee's Who's Afraid of Virginia Woolf? Bitter? Check. Sassy? Check. Seductive? Check. Thank goodness, given the play's 3+ hour runtime and rather small footprint (simple set, three other characters.) If you want to hold this critic's attention for that long, you'd better be good; and Twyford is, and then some. It certainly doesn't hurt to have Albee's edgy prose as ammunition; and a more-than-capable opponent, husband George (Gregory Linington.)

Ayana Workman & Andrew Veenstra (r) star in STC's Romeo & Juliet (Photo: Scott Suchman)

Holy St. Francis!

I rarely instigate a standing ovation (yet alone participate in one) but last night's performance of Romeo & Juliet at the Lansburgh Theatre was so terrific, I had no choice. Like most folks, I've seen the play (many times) before... but the Shakespeare Theatre Company's production infuses just the right amount of energy and modern accoutrements (i.e. balloons, Live DJ, Starbucks) to light a match to what was already the hottest romance of all-time. Alan Paul's STC directorial debut is equal parts daring, funny and high-octane, without sacrificing the all-important lovey-dovey that audiences demand/expect. If "To move is to stir," consider me stirred.

The cast of STC’s production of The Taming of the Shrew (Photo: Scott Suchman)

10 Things I Love About You Shrew
by Haylee Grey Pearson (Contributing Editor)
Who would have thought Shakespeare (yes, the one from your high school lit class) could become more provocative, bombastic, and imaginative? Evidently director Ed Sylvanus Iskandar did, when he took the classic Shakespearean comedy of The Taming of the Shrew and put his own spin on it. Much like any extra toppings on an already delicious burger, some additions enhanced the spice to the familiar flavor, and some additions had us thinking maybe not.

Sarah Lasko stars in The Wizard of Oz (Photo: Daniel A. Swalec)

There's No Place Like Oz

Does it get any more American than The Wizard of Oz? Sure there's baseball, hot dogs and apple pie; but they pale in comparison to L. Frank Baum's century-old tale of Dorothy, Toto and the yellow brick road. The National Theatre wrapped up its 2015-16 season with a rousing, slightly modern adaptation of the family classic, proving once again... there's no place like Oz.

Drew Seeley, Matthew Dailey, Aaron De Jesus & Keith Hines (r) (Photo: Jeremy Daniel)

Infinite Possibilities

Blame it on Tony Soprano. I'm certainly no one's idea of a "Jersey Boy," but it's hard impossible to resist the raw energy and exuberance that is (New) Jersey. In theater form, it doesn't get any better than Jersey Boys... quite possibly my favorite modern production, and this year's best show (so far.)

Kevin McAllister & Tracy Lynn Olivera star in 110 in the Shade (Photo: Carol Rosegg)

Let the Rain Come

"If there's anything that scares a man, it's a serious talking woman." Cue the return of Lizzie (Tracy Lynn Olivera) in Ford Theatre's enthralling production of 110 in the Shade (now playing, through May 14th.) Her timing may not be great (1950's Texas... during a severe drought) but there's no holding back this Texan belle, despite her (all-male) family's efforts to marry her off... just as soon as she makes them dinner. Lucky for her, she has options (Kevin McAllister's File & Ben Crawford's Starbuck.) The former's a divorced, soft-spoken Sheriff: The latter, a loud rainmaker... with no shortage of bravado. Will Lizzie choose the right man? Should she even have to?

Heidi Gray, Gilgamesh Taggett & Chloe Tiso (r) star in Annie at the National Theatre (Photo: Joan Marcus)

Annie Comes to Town
by Haylee Grey Pearson (Contributing Editor)
A timeless classic for a DC staple. Playing now at the National Theatre in Washington DC is the Broadway musical, Annie.