Roger Catlin - Page 8

Taffety Punk, the insurrectionist yet classically trained company now in its 15th year does what it does best in a pair of striking Greek adaptations by Anne Carson, presented in one invigorating sitting.

There's a glorious sound coming from Arena Stage. From out of the mists of time, in monochromatic colors as if from a tintype, comes the sublime harmonizing of 13 voices, giving an idea of the transporting power of the Fisk Jubilee Singers.

It's easy to see why 'Tosca' is one of the most popular works in opera.Its very musical style, broken free from the strict opera house rules before it, allows it to breathe. Singers are not urgently singing every moment. The supertitles person can take a break as it goes dark from time to time. Still, there is drama to burn in the story of an opera singer in the midst of a divided Italy in 1800.

At a time when Motown Records just marked its 60th anniversary with a lavish TV special, and with 'Ain't Too Proud: The Temptations Musicals' getting a raft of Tony Nominations, following the Broadway success of 'Motown the Musical' and 'Dreamgirls,' based on the Supremes, any fan of the sound would certainly anticipate a new creation called 'Pride & Joy: The Marvin Gaye Musical.'

A child injures another in a playground confrontation. The parents of each meet to discuss. It's a parenting moment so universal that the familiar premise in Yasmina Reza's 'God of Carnage' was originally written in French and first presented in London. It was a Tony-winner on Broadway a decade ago in a production with James Gandolfini, Jeff Daniels, Hope Davis and Marcia Gay Harden.

Constellation Theatre is closing its season of love stories with a big one from the East. Thankfully 'The White Snake' is not about the 80s English metal band. Instead, it's an ancient, oft-told Chinese folk tale, which was breezily interpreted by Mary Zimmerman originally for the Oregon Shakespeare Festival in 2014. It's brought to lyrical life in a production directed by Allison Arkell Stockman that combines puppetry, movement and a beguiling, underlying musical performance.

Funny how a few years can change a play, not because of the play itself, but because of social shifts around it.

It would have been interesting to hear the 1953 conversation between author Richard Wright and the upstart man of letters James Baldwin at the ex-pat literary nexus of Les Deux Magots in Paris.

Puppetry is one of the realms of the New York's Phantom Limb Company, so their latest environmental opus 'Falling Out' begins with some rough human-figures that look more like mannequins being slowly swept or carried across the stage like detritus from the ocean's edge.

The new artistic director and co-director of the New York City Ballet looked a little nervous Tuesday as they awkwardly welcomed the Kennedy Center audience to their annual week-long residency.

Middle East conflict is normally not thought of a rich source of laughter, but Hassan Abdulrazzak's 'Love, Bombs & Apples' finds a way to be amusing as well as a thought-provoking way to reconsider the conflicts.

A number of families packed the Kennedy Center's Eisenhower Theatre Friday for the world premiere of 'The Watsons Go to Birmingham - 1963.'

In her one woman show, Hanane Hajj Ali quite noisily warms up, stretches and approximates her morning routine of jogging the streets of Beirut. The activity lets her mind run free as well. She thinks of roles she'd like to play. Medea, for example. And that brings to her a more immediate story of a woman and a tragedy further inland in Lebanon.

Those advocating a big border wall to keep out imagined hordes of asylum seekers are overlooking the abilities of one indefatigable group they would fail to keep out: circus performers.

xWashington Stage Guild in its time has accomplished a number of serialized works over the years, including just about all of Shaw. But few have been so optimally presented as the Arlene Hutton trilogy that ends with the current 'Gulf View Drive.'

By 1931, technology had advanced enough to allow Charlie Chaplin to make his latest film, 'City Lights,' as a talkie. But why would he? By then, he had mastered his singularly poetic choreography that universally communicated comedy without need for language. Further, he could use advancements in sound to take control of the musical accompaniment. If individual theaters had erratic success in accompanying his films music, now they were not only uniform, but using a full score he composed himself - another Chaplin talent that flowered.

They pipe street noise onto the stage as the latest production of InSeries opera company begins.

Humbug's my usual reaction when there's yet another variation of 'A Christmas Carol' on local stages this time of year. Can't someone come up with an original idea for a Christmas play?

For his fifth and final work with Shakespeare Theatre Company director Michael Khan, the playwright David Ives has not returned to rhyming couplet adaptations of French classics, as he did in 'The Liar,' 'The Heir Apparent,' 'The Metromaniacs' and 'the School for Lies.'