Woolly Mammoth's Hir and Rick Foucheux's possibly-career-capping Avant Bard King Lear, reviewed.

Emily Townley and Joseph J. Parks in Hir. (Scott Suchman)

My review of Woolly Mammoth Theatre Company's "rich and fervent" production of Taylor Mac's family tragicomedy Hir is in this week's Washington City Paper, along with a shorter one of WSC Avant Bard's latest King Lear — which just might be the swan song of one of DC's most venerable actors, the great Rick Foucheux. Pick up a paper copy for old time's sake.

Faking and Baking: Stage Kiss and Holiday Memories, reviewed.

They can't all be winners, not even shows from playwrights, directors, and actors whose work you often love. Round House Theatre's new production of Sarah Ruhl's Stage Kiss was a bigger disappointment to me given its pedigree than was WSC Avant Bard's Holiday Memories, but I can't say either one blew my Christmas stockings off. As ever, your mileage may vary.

Poor Me, Pour Me Another: WSC Avant Bard's No Man's Land, reviewed.

Christopher Henley and Brian Hemmingsen as Spooner and Hirst.​

Allow myself to quote myself: Harold Pinter’s No Man’s Land is a 38-year-old Rubik’s Cube covered in Rorschach blots, a confounding examination of memory and masculinity that resists easy interpretation like an Aikido master shrugging off an unwanted bear hug. I wrestle with that bear -- er, WSC Avant Bard's production of that bear-hug-avoiding Aikido master of a play, that is -- in this week's Washington City Paper.