Can you get the full measure of Shakespeare’s “King Lear” without hearing Lear’s verbal rage against the Gods? You bet you can—and without any of the words for that matter—in Synetic Theater’s “silent Shakespeare” series, now through April 24 at the Lansburgh and April 29 – May 9 at Synetic’s home base in Rosslyn.
New and fresh Irish playwright Enda Walsh is currently getting a full-blown festival exposure at the Studio Theater, with “Penelope,” his contemporary version of the story of Ulysses and his wife, having already been performed. Now its “The Walworth Face” and “The New Electric Ballroom,” starring some of DC’s finest veteran actors and actresses, being performed simultaneously in the Milton and at the Mead theaters, respectively.
This Oprah Winfrey-backed musical theater version of Alice Walker’s powerful novel packs more emotional punch than your everyday Broadway musical.
You never know what you might find in Georgetown Tobacco, that’s for sure. It’s not the only tobacco shop in the Washington area, but it’s probably the most original one. It is absolutely the most enduring, and it’s one-of-a-kind shop in Georgetown, now celebrating its 47th anniversary.
Say happy 447 thbirthday, Master Shakespeare. It was a day in April when “the spirit of youth was in everything.”
Lives lived in full to the end let us see the real meaning of legacies—passion in action and professionalism as a matter of course and duty. Herewith, we celebrate the lives of three men who embodied those qualities.
A collection of Samuel Beckett's one-acts, directed by Peter Brook, will be at the Kennedy Center for One Weekend Only, April 14-17. In an interview with this iconic director, Brooks talks about producing the work of his old friend, as well as Beckett's humor, genius, current relevancy, and the public's perceptions.
The Shakespeare Theatre Company’s production of Oscar Wilde’s “An Ideal Husband” has a lot going for it. It ...
This is the 25th anniversary for Filmfest DC, which opened April 7 and closes April 17 at locations and venues throughout the city, and it’s also the same for Filmfest DC Director Tony Gittens, the festival’s first and only director over the years. “We didn’t used to have all these new delivery systems and ways of looking at films,” he said. “There was no digital film, no Internet, no Youtube, nothing like that. Sundance didn’t exist as a major marketplace for independent films.”
Earlier this week, I was talking to a neighbor of mine. And like a lot of people in my neighborhood and across the city, he’s interested in the Mayor’s budget proposals. And everyone thinks there’s going to be trouble over the budget.
“Liberty Smith,” a kind of tongue-in-cheek, young-hero retelling of some major events of the Revolutionary War, has a number of things going on for it. “We think this is going to be great entertainment,” says Paul Tetreault, Ford’s executive artistic director. “We have a big, Broadway-style musical here, which will appeal to the whole family.”
Here we are, into the first spring of the Vincent Gray Administration’s rule. And where are we?
The recent death of Elizabeth Taylor and its coverage around Washington highlighted the nurture-torture nature of the relationship between Washington and Hollywood, like an electric wire was connecting the two cities. People remember her here; just ask the senator, the gossip writers, theatergoers and the folks at the Whitman Walker Clinic.
The elephants and clowns and ponies and performers marched through parts of Washington yesterday for an annual parade that signals the arrival of the circus in town and delights hundreds of children and tourist along the road. Leading the way was Jonathan Lee Iverson, the ringmast, decked out in red-white-and-blue and top hat—the man who gets to say the iconic words at the start of each show: “Welcome Children of All Ages to the Greatest Show on Earth.”
In the wake of the destruction and devastation that has hit northern Japan, it might be necessary to take the word “festival” out of the Cherry Blossom Festival. Commemoration might be better, for what has happened to Japan lies like haze over everything in the festival. There is a blanket of sorrow accompanying us all even as we move among the trees that are perhaps the most precisely apt symbol we have on hand.