When They Stop Looking at Us: Fairview, reviewed.

Chinna Palmer in the Woolly production of Fairview. (Teresa Castracane)

When I saw Woolly Mammoth Theater Company’s production of Jackie Sibblies Drury’s We Are Proud to Present... in 2014, it was the worst show I’d ever seen. Five-and-a-half years later, it still is. So to say that I liked Woolly’s new production of Fairview, Drury’s Pulitzer Prize-winner that made its debut last year, better than her previous work is of little value. But I liked it a lot. I appreciated it, more like.

I do understand that my approval is not required. It never is. My Washington City Paper review is here.

In the Loop: Studio’s Kings, reviewed.

I reviewed Kings, DMV native Sarah Burgess’s smart drama about an idealistic freshman Congresswoman, for the Washington City Paper.

Apprentice v Apprentice: Vicuña & The American Epilogue, reviewed.

My Washington City Paper review of Jon Robin Baitz’s already-anachronistic Trump satire Vicuña, which is getting a lavish second production at Mosaic Theatre after premiering in Los Angeles last year, is here.

Information Overload: Forum’s Love and Information & Constellation’s The Wild Party, reviewed.

This slideshow requires JavaScript.

A surfeit of arts coverage in last week’s Washington City Paper means it took my reviews of Forum’s Caryl Churchill experiment Love and Information and Constellation’s Jazz Age musical The Wild Party ’til now to appear. They’re in the paper this week.

Bad Times, Good Times: Studio’s Cloud 9 and Constellation’s Urinetown, reviewed.

For various critic-related, theater company-related, and publication-related reasons, my reviews of Studio Theatre’s production of Caryl Churchill’s anticolonial sex romp Cloud 9 and Constellation Theatre Company’s new production of the Y2K-era Greg Kotis-Mark Hollman musical Urinetown have taken a long time to see print. But they’re in this week’s Washington City Paper, and online, too.

Popcorn Psychology: Signature’s The Flick, reviewed.

I review Signature Theatre’s production of the Pulitzer Prize-winning comic drama The Flick in this week’s Washington City Paper. It’s the fourth Annie Baker play I’ve reviewed — five if you count her translation of Uncle Vanya — and the second in which I’ve quoted a heckler. Maybe I wouldn’t have done that had I remembered doing it in my review of Studio Theatre’s The Aliens three-and-a-half years ago.

Further reading, if you really want to see me struggle not to repeat myself: Circle Mirror Transformation, from 2010, and Body Awareness, from 2012.

Deliberations of the Cross: The Originalist and Passion Play, reviewed.

This slideshow requires JavaScript.

It’s a strong week for theatre here in our Nation’s Capitol. My reviews of The Originalist, Arena Stage playwright-in-residence John Strand’s much-awaited play about Associate Justice Antonin Scalia and United States v. Windsor, and Forum Theatre‘s magnificent production of Sarah Ruhl’s Passion Play, are in today’s Washington City Paper. Go read ’em. Please.

Tête-à-Tête Offensive: Tender Napalm and The Carolina Layaway Grail, reviewed.

In one of the the shows at Signature Theatre right now, a woman (named “Woman”) tells a man (“Man”) in precise, step-by-step detail how she plans to sever his penis and scrotum.

In the theater next door, Beaches: The Musical is playing. Six of one…

I review Philip Ridley’s Tender Napalm in this week’s Washington City Paper. Plus Allyson Currin’s The Carolina Layaway Grail, the inaugural production from DC playwriting collective The Welders.