I’ve pasted links to my theatre reviews from January and February underneath their pictures below. In addition to the plays I reviewed, we also saw TREVOR at 1st Stage in Tyson’s Corner and KING CHARLES III at Shakespeare Theatre Company as a Valentine’s Day present. It was a really busy month!
We both really enjoyed KING CHARLES III, which is predictably unsurprising since we both really enjoy British politics and culture. I am particularly fascinated with the British monarchy and its history. KING CHARLES III details the ascension of Prince Charles to the throne of England, his struggles with Parliament to exercise his rights as King, and the inevitable rise of the media-savvy and likable Will and Kate. Playwright Bartlett’s use of Shakespearean blank verse is ingenious but not alienating and many of us in the audience felt that the dramatic choices and decisions made by the royal family in the play provided insight into our present political climate, both in the US and in England. Robert Joy, who played Charles III, gave a particularly moving performance.
TREVOR is a shorter play , based on a real-life incident, of a woman who keeps a chimp named here as Trevor, as a member of her family. As he grows, he becomes more violent and his “mom” struggles to keep him safe from himself and others safe from him. Trevor is played by a scruffy adult man who has adopted to an astonishing degree the stature and mannerisms of a chimp. He is deluded and dreams of returning to Hollywood where he worked successfully as a child chimp actor. It’s a very funny play but inevitably a violent tragedy.
WELL at 1st Stage
A mash-up between Super Mario and Checkhov’s Uncle Vanya, Brother Mario is a weird little play and there is really no way around that.Flying V Theatre, your “Friendly Neighborhood Indie Theatre,” takes pride in their laid-back atmosphere and particular brand of weird so hopefully they’ll take that as a compliment.
ln the world premiere of I Wanna Fucking Tear You Apart, playwright and director Morgan Gould explores a friendship between two people who aren’t “normal.”
From the outset, Albee’s characters are shockingly volatile. They curse, they drink and they revel in inflecting pain. It’s funny, heartbreaking and yes, slightly familiar. Who’s Afraid of Virginia Woolf? may have debuted in 1962 but the truth it provokes still feels relevant.
Stoppard’s characters talk fast and think faster in a play jam-packed with science-y references which may prove to be somewhat inaccessible to theatergoers. That being said, The Hard Problem is dry and witty, even relatable in its own way. Most importantly, it is well paced and never boring; a blessing for a play with no intermission.