Everything burns, but not every fire is determined by fate. And Washington DC is certainly on fire in various meanings of the word. Politically, socially, and now thanks to Woolly Mammoth Theatre Company, theatrically as well! This is one fire that fate will not put out! The kickoff to Woolly Mammoth’s Incendiary 2017/2018 season— The Arsonists, by Max Frisch and newly translated by Alistair Beaton, is setting the stage and minds of audience members alike ablaze with a conflagration that just won’t quit.
The United Kingdom has survived for centuries; it has survived being Thatcherized— even Reaganized from afar in recent decades— but can the crowned country survive a reign under King Charles III? Mike Bartlett’s thought-provoking drama examines exactly such a premise, kicking things off at the funerary farewell to the woman who was arguably England’s greatest monarch, Queen Elizabeth II. Now appearing in the Sidney Harman Hall of Shakespeare Theatre Company,
Love. Deception. Soap Opera. Kiss. An evocative new work is pushing the conversational envelope at Woolly Mammoth Theatre Company in the 2016/2017 season. Revolving around the melodramatic relationships of four individual characters inside a soap opera, but going so much deeper than that simple premise, Kiss is a story like no other. In a TheatreBloom exclusive interview, we sit down with Woolly Company members Gabriela-Fernandez Coffey and Tim Getman,
When you experience something so beautiful, you have to put it into words just to make sure that it is real. Though I purport no ability that will come close to doing Guillermo Calderón’s work an inkling of justice, finding word to convince you to see Kiss at Woolly Mammoth Theatre Company for its sheer horrifying beauty and stunning emotional weight is now my mission; the must-see show of the season has risen to the stage with harrowing political relevance,
Images create reality. The imagination creates images of our reality. There is a line, even in our imaginations, that we should not cross, but to enforce such a notion would be impossible. In a frighteningly realistic and none-too-distant futuristic world where the “Nether” (formerly the internet) has become the contextual framework for being, it’s okay to forget who you are and discover who you might be. It’s the golden opportunity to live without consequence in a reality that is not one’s own.
You can’t live against life and avoid harm by avoiding good. And nothing will remind you of that profound philosophy while simultaneously tickling your funny bone as well as Everyman Theatre’s current production of John Patrick Shanley’s Outside Mullingar. Directed by Donald Hicken, this shadowy Irish comedy is the epitome of balance when it comes to hilariously heartwarming and deeply moving. A touching and tender tale of dying folks living, dying,
Artists are the real philosophers of the world because they are the ones struggling to communicate the real human condition. In a powerful new evocative work commissioned for Ford’s Theatre, playwright Jessica Dickey explores the notion of protecting the space around the art in her new heart-heavy drama The Guard. Receiving its world premiere upon the stage under the Direction of Sharon Ott, this fascinating new work is not without its levity in its epic journey of exploration through emotions and the notions of art and what it means to exist as humans in a world dominated by untouchable art.
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,
Are you able to walk up to your neighbor’s house and borrow a cup of sugar? Does anyone even do that anymore? Or is it just easier to go down to the 24-hour food mart and buy what you need rather than trying to determine if you have a functioning relationship with your neighbor? Do you even know the people that live next door? A compelling, yet highly humorous, socio-economical commentary on the devolution of neighborhoods in modern America is what comes to the stage to kick off Woolly Mammoth Theatre Company’s 34th Season: America’s Tell-Tale Heart.