It’s the holiday season— with a whoop-de-do, and dickory dock, and four heartfelt holiday bitches that only Santa could bring to Washington DC this time of year! Unlike Frosty the Snowman, who returns every year during the holiday season, The Kinsey Sicks haven’t been through the Nation’s Capital since 2011, the last time the graced the stages of Theater J. Blaspheming their fabulous Christmas carols of catastrophe and heralding the holiday-hoorayness from hell, this hysterical huntys are here to cram that joy of the season right up your holly-jolly happy place!
Brothers and Sisters of Washington DC, let us pray. Bow your heads, whether your Jewish, Christian, practicing, non-practicing, believing, non-believing; Lucas Hnath’s The Christians has got you covered anyway you look at it. It’s so simple, you might call it grace. This powerfully evocative drama, Directed by Gregg Henry, is opening the doors and challenging the community of Theater J and theatergoers across the nation’s capital to broaden their viewpoint on religion and salvation.
At the start of The Last Schwartz, Anne Bowles as Bonnie deftly sets the tone, relating how she saw Siamese twins on Oprah. They strike her as oddly optimistic in hoping to get married. Her cousin, after all, can’t find love, “and she’s pretty and smart and has only one head.” Moments later, she’s weeping for her miscarriage: “… if I could have had him for just one full day…” It’s a dark,
The most tender thing in the world is the love of a parent for a child.
The most mortifying thing in the world is a parent loving a teenager.
Another Way Home, by Anna Ziegler, explores this complex, combative time in everybody’s life from the point of view of the parents. Phillip and Lillian (Rick Foucheux and Naomi Jacobson) have come from Manhattan to Maine to visit their son Joseph (Chris Stinson).
This is fresh air. A play so horrifically captivating that it fuses your eyeballs to every flicker of movement, melds your eardrums to every shock of sound, and merges your mind to every explosive thought and disruptive emotion as they occur. Dan O’Brien’s The Body of an American seizes audiences of Theater J with captivating force, tumultuously upending their emotional equilibrium in the exploitative journey of a playwright and his relationship with Canadian Photojournalist Paul Watson.
Passing time is painful. So what could be more titillating than other people’s hell when it comes to distracting the mind from its own personal grief? In a powerfully evocative stage adaptation of David Grossman’s novel, Theater J brings Falling Out of Time to the stage as the penultimate production of their 2015/2016 calendar season. Directed and Adapted by Derek Goldman, this strikingly emotional drama hones in on the potent power of grief and its ability to transform the lives of an entire village.
Nothing seems to be going Joseph Douaihy’s way. His body is racked with mysterious chronic pain, he desperately needs health insurance, his disgraced publisher boss is certifiably nutso, and his father has just died in the wake of a freak accident involving a plastic deer decoy, leaving him as the primary care-giver for both his younger brother and his ailing uncle. This sets off Theater J’s stellar production of Stephen Karam’s award-winning play Sons of the Prophet,
Where do you find your place in the world? And how easy can it be to do so when you’re trying to put together the puzzle pieces of your own life while the world around you falls apart? Imagine such a conundrum. Now imagine it in 1962, as a young African-American girl growing up in Queens, and going to a private charter school in Greenwich Village, as Malcolm X is shot, President Kennedy is assassinated,
If you intend to shut a mind, then it is best to know the mind you are attempting to shut. Going deep into the minds of Factory449 company members Sara Barker and David Lamont Wilson, TheatreBloom interviews these two actors about their experience with Closet Land, the company’s current production that delves into the realm of psychological, emotional, and physical torture in the name of government stability.
Thank you both for this interview.
Let them eat— s’mores? Following along through Season 35 at Woolly Mammoth Theatre Company, their world premier of Lisa D’Amour’s work Cherokee settles nicely into the “let them eat” theme of the season. In a TheatreBloom exclusive interview we’re talking with Woolly Company Member and Director John Vreeke about his involvement with the project and why it interested him.
Thank you, John, for taking time to phone in with us for this interview.
Theater J presents the brilliant and highly poignant new Aaron Posner play Life Sucks (Or the Present Ridiculous.) Written and subsequently Directed by Posner himself, this irreverent modern variation on Chekhov’s Uncle Vanya, is a gloriously thought-provoking work that captures the minds of the audiences through laughter, tears, and strange situations. This world premier work is quite possibly the most connective piece of work to address humans as they exist in the world;
Dreams are what sustain the human need for remaining alive. They perpetuate the notion of living until they are achieved. But what happens when one’s dream is to no longer be living? Reality implodes upon itself in a chaotic and cosmically imbalanced sense the result of which is life viewed through the lenses of comically dark reality. Everyone has problems, some more than most, and Theater J proudly presents the Washington DC area premier of The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures,
Mysteries of appearances. Deceptions of the heart. Androgynies of the soul. These are no longer dated topics held applicable to only women of the Jewish faith. As Theater J opens its 18th season with an invigorating and refreshing new production of Yentl, theatergoers are compelled to reflect upon the change for everyone that this particular show inspires. Directed by Shirley Serotsky with Musical Direction by Jonathan Tuzman, this strikingly beautiful tale is a remarkable work,