Andrew White - Page 9

Ever heard the old adage that you should never share the stage with a dog? Next Stop Theatre's production of A. R. Gurney's empty-nest comedy 'Sylvia' shows it goes double when an actress is the one playing a dog. Sherry Berg has one of the most entertaining roles imaginable-Sylvia the mutt, part poodle (mais oui) and part street ('sup). Her shameless, joyful romp is the highlight of the show.

Roll over, Bela Lugosi: there's a new smooth-talking villain in town, and he wants your flesh. Paata Tsihurishvili, who has been dearly missed during his behind-the-scenes hiatus, returns to the stage in fine form as one of literature's most notorious mad scientists. If you are looking for that edgy, near-perfect evening out this Halloween season, it doesn't matter whether you've got a date to impress or a feisty teenager who loves gore-you really must check out Synetic Theatre's The Island of Dr. Moreau

Director Amber Jackson has assembled a brilliant cast, creating an anarchic and, yes, surreal atmosphere in which anything and everything can happen. Zachary Fernebok's performance of Dali is priceless, and Jos. B. Musumeci Jr.'s set is a perfect evocation of the surreal atmosphere of Obolensky's play.

This is one of the most fabulous, intimate musicals you will ever see: Metro Stage's revival of Janet Pryce and Thomas W. Jones II's Three Sistahs features a brilliant, gospel-inspired musical score by local composer William Hubbard and one of the strongest casts on the DC theatre scene; it all adds up to an unforgettable family portrait.

Actress Danielle Davy gives us a vivid incarnation of John Millington Synge's muse Molly Allgood, in a performance that is by turns hilarious and deeply moving. The play has been given a fine, deftly-directed trajectory thanks to Scena Theatre's Robert McNamara. The brogue is occasionally thick and of course it helps if you're familiar with the leading lights of the modern Irish stage, but Davy carries you through the evening effortlessly with Mollly's determination and her charm.

Conor McPherson's genius is in knowing what will make you squirm in your seat. And Robert McNamara's current production of Shining City at the Atlas Performing Arts Center gives us a lasting impression of McPherson's work. Ron Litman gives a positively riveting performance as John, a contemporary Everyman whose conscience will never let him be.

Nearly three years after its London opening, Washington's own Quotidian Theatre Company offers us the American premiere of a play that should soon find itself in regular rotation nationwide. Quotidian, with its reputation for understated yet compelling shows, has gone all-out with this production and done Mr. McPherson proud. With a solid, seasoned cast and brilliant period touches in set and costumes, 'The Veil' should be at the top of your list!

As embodied by the engaging Robert Michael Oliver-heavily bearded for the occasion-Sanctuary Theatre revives Whitman in all his messy glory, bringing us his passion, sensuality, sensitivity and eroticism. It's hard to imagine a guy who looks like Santa Clause relishing the kinds of behavior that (until recently) could get you arrested in most states. But he was dangerous in his own day, and as Oliver reminds us so richly here, he will remain a scandalous figure on the American scene for as long as there is an America.

A fascinating blend of dance, monologue, dialogue, lights, sound effects and live music, 'Enter Ophelia, distracted' gives you a piercingly perceptive look into the psyche of a young girl fated to lose first the love of her life, then her father, her mind, and then her life. Ophelia's fictional fate resonates strongly with women to this day, and Kim Gilbert-with the help of Choreographer Erin F. Mitchell-has plumbed her depths in ways that are intensely personal and unforgettable. The intimate confines of the Capitol Hill Arts Workshop fairly burst with the passions unleashed in this piece.

When a local treasure agrees to perform a classic of the modern theatre, Washington audiences should sit up and take notice. Under the finely-tuned direction of Scena Theatre's Artistic Director, Robert McNamara-a demanding taskmaster, whose results of late have been spectacular-you are in for a fine evening indeed. Are we at the beach, or in her living room? Is she taking a holiday, or stuck at home for an eternity? She performs, you decide.

Opening as it does to coincide with the 70th anniversary of D-Day, Joe Banno's moving production reminds us just how much we are still haunted by the ghosts of World War II, and the horrific moral dilemmas of those days. With a large cast that is mostly up to the material Banno has given us a memorable evening of theater that challenges us. Forget plays that give you a cozy, morally superior perch, Mann the playwright and Banno the director force us to think about how we contributed to the monster that was Adolf Hitler.

It is the stuff of great drama when people with incredible charm and talent behave like monsters: idealists with a clear vision of the future, leaving human wreckage in their wake. For fans of English literature who are fascinated by Shelley, Byron and the women who devoted themselves to their careers, 'Bloody Poetry' should be a pure delight.

Olney Theatre Center has finally taken the plunge in their intimate black-box space with their inaugural August Wilson production, 'The Piano Lesson.' Blessed with a talented cast, they should enjoy a prosperous run; and the choice of play is appropriate, given the role that Baltimore's own Charles S. Dutton had in its first production. And the piano of the title, with its unique and bloody history, endures as one of the most powerful stage metaphors of our time.

If you're in the mood for an outrageous good time, you can't do better than to squeeze into Fort Fringe and witness Bradley Foster Smith's break-out performance as a talented, sexy usurper. Director Patrick Pearson has given this new show a great launch, complete with a kick-ass backup band and a solid ensemble. WSC Avant Bard should be up to their necks in groupies before Nero/Pseudo's run is over.

Director Evan Hoffman has worked deftly with a strong cast who pop in and out of the action at a brisk, engaging pace. With a special turn by 'Today Show' anchor Kathie Lee Gifford (whose voice work is remarkably good), it's a special evening indeed.

Constellation's spell-binding production of Timberlake Wertenbaker's The Love of the Nightingale may have an old-fashioned name or two, but it is as timely a production as you will ever see. Director Allison Arkell Stockman understands that Greek mythology, like tragedy itself, is a canvas upon which we paint our darkest fears and ponder their meaning. The play paints a complex picture in which victims, bystanders and perpetrators compete for the audience's sympathy; and with Constellation's consistently strong performances, the journey is one of the most thought- provoking I have seen this season.

When we think of Norway, "laugh riot" is usually the last thing that comes to mind. The Washington Stage Guild's premiere production of Elling may be slow going at first, but it revs up to give you an amusing slice of life in modern-day Oslo. It's a very funny place indeed. This Elling is a classic comedy in the Odd Couple mode. Think: Neil Simon meets Sigmund Freud, with a healthy dose of Ken Kesey thrown in.

Marc Bamuthi Joseph and the Living Word Project have combined rap, spirituals and dance to create an unforgettable show red, black, and GREEN: a blues (RbGb) that explores the challenges and ironies of an urban artist who gets deputized to help 'Green' an inner city that is already under siege from its traditional challenges, and perhaps the greatest challenge of all-gentrification. Because the show represents the fruit of four separate projects staged in four cities, it has the feel of an intimate travelogue.

Remember those sappy romances from the 1930's and 1940's? Think you've seen 'em all? Think you've seen enough of 'em, already? Guess again: England's Kneehigh Theater, currently in residence at the Landsburgh, breathes new life into the old genre, and not only makes them a joy to watch, they've managed a few technical marvels as well.

At 2 ½ hours this production may be a bit long in the tooth for some, but it is made so much easier to watch because the actors never let you forget they're just actors-and that they're only here to tell you a really cool story from bygone days. Anachronistic touches like glasses-a sure sign of modernity-fit in seamlessly with the Buddhist temple setting, even though the tale of The Green Snake is set in the Song Dynasty, before the USA was even a gleam in King George's eye.