When They Stop Looking at Us: "Fairview," reviewed.

Chinna Palmer in the Woolly Mammoth production of Jacke Sibblies Drury’s 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 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.

Elliott Bales and Nehassaiu deGannes play a longtime senator and the rookie rep who primaries him. (C. Stanley Photography)

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.

John de Lancie, Brian George, and Haaz Sleiman (Mosaic Theatre)

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.

Farrell Parker (center) is the best reason to see Constellation's The Wild Party. (AJ Guban)

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.

Popcorn Psychology: Signature's The Flick, reviewed.

Thaddeus McCants, Laura C. Harris, and Evan Casey in The Flick (Signature Theatre).

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.

In the Flesh: Zombie: The American and NSFW, reviewed.

Sean Meehan, James Seol, and Tim Getman in Zombie: The American (Stan Barouh).

Two satires, each alike in indignation. My reviews of Robert O'Hara's world premiere Zombie: The American at Woolly Mammoth Theatre Company and Lucy Kirkwood's 2012 NSFW at Round House Theatre are in today's Washington City Paper, available wherever finer alt-weeklies are given away gratis.

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

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Laura C. Harris and Elan Zafir in Tender Napalm (Teresa Wood)

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.

Why yes, I am fairly pleased with the hed, thanks. It's one of the very few times I've ever managed to top my editor (and Heds Will Roll Tumblr proprietr) Jon Fischer's suggestion, which is on Heds Will Roll now though it's far more tasteful than mine. Then he came back and nailed the photo caption, so.