Articles Tagged With: Susan Hilferty

The Oresteia at Shakespeare Theatre Company

Everything feels as if it has just happened. Ellen McLaughlin’s
The Oresteia, freely adapted from the
trilogy by Aeschylus that is nearly 2,500 years old, feels as if it is
happening. And what must happen does. Boldly closing the 2018/2019 season at
Shakespeare Theatre Company in their prestigious Sidney Harman Hall under the
Direction of STC legend Michael Kahn, The
Oresteia
is modernized yet timeless, prescient yet ancient;

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The Gabriels: Election Year in the Life of One Family at The Kennedy Center

Don’t write words; try to write people. Playwright Richard Nelson has written people— six ordinary people whose lives are no different from our own, whose stories are the same as our stories— and in writing these people, has taken everyday life, ordinary existences, captured them and made them extraordinary. The John F. Kennedy Center for the Performing Arts presents The Public Theatre production of The Gabriels: Election Year in the Life of One Family.

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Review: Wicked at The Kennedy Center

Fellow Washingtonians! Let us be glad! Let us be grateful! Let us rejoicify that the city has brought onto you— the wicked workings of you know who! (Stephen Schwartz and Winnie Holzman, that’s who!) Isn’t it nice to know, that good has come to DC, in the form of the Tony Award-Winning musical Wicked just in time for the holidays? And you will mourn for Wicked if you miss your chance to experience the national tour as it drops into the Opera House of The John F.

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Review: Salome at Shakespeare Theatre Company

Salomé…seductress? Salomé…femme fatale? Salomé…revolutionary heroine? South African Playwright and director Yaël Farber posits how a nameless young woman mentioned briefly in the Bible as the catalyst for the death of John the Baptist became the femme fatale of Oscar Wilde’s version of the story. By examining the biblical narrative in the context of the conquest of Judea by the Romans, Farber presents a provocative reimagining of this woman’s place in history. The result is a fascinating if flawed look at the oppression of feminine narratives in history and literature.

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