The devil hates heavy metal, it turns out.
Author Archive for Chris Klimek
Kimberly Gilbert is one of the most versatile, fearless and reliably thrilling actors in Washington. Whether she’s playing the spinster held hostage by her wicked mother in The Beauty Queen of Lenane or an everyone’s-a-little-bit-racist gentrifier in Clybourne Park,or a shellshocked survivor of an environmental apocalypse in Mr. Burns, or a Victorian woman receiving surprisingly [...]
Alt-country singer-songwriter Lydia Loveless grew up on a farm in rural Cushocton, Ohio, playing in bands with her two older sisters and her dad. Though her voice has the ageless authority of Neko Case or Patsy Cline, and her songs suggest a lifetime of romantic disappointment, sexual frustration, and poor choices, she's only 23 years [...]
Weeknight tickets to Arguendo, an inventive but frivolous bit of comic theater derived from a 1991 Supreme Court case, start at $70, which works out to about a dollar per minute. No wonder Woolly Mammoth Theatre Company—which did not produce the show, created by New York City’s avant-garde performance troupe Elevator Repair Service, but is [...]
Brooklyn-based storyteller and comic Jeff Simmermon spun a stage show—now in a monthly residency at the Upright Citizens Brigade Theatre in Manhattan's East Village—out of his blog, And I Am Not Lying, which he started while living in DC in the early aughts. I wrote about him, and about our boyhood buddyship, in late 2011, [...]
On the heels of what might be the worst show it's ever produced, Woolly Mammoth Theatre Company is bringing back one of its best: Stupid Fucking Bird, playwright Aaron Posner's irreverent update of Anton Chekhov's The Seagull, which was a huge hit for the 34-year-old company last summer, will return with its original cast intact [...]
In another life, Drew Cortese might have ended up a banker instead of a mendacious, murderous king.
The 38-year-old star of the Folger Theatre’s intimate, in-the-round production of Richard III began researching the role, after a fashion, almost 17 years ago. It was the summer before he was enrolled in the Tisch School of the Arts [...]
The Gershwins’ Porgy & Bess—which is to say, the 2011 opera-into-musical re-engineering by the playwright of Top Dog/Underdog and others—may indeed be a bastardization of a towering American classic, like Stephen Sondheim said it is, but I wouldn’t know. This Tony-winning gloss on the Gershwins’ (and the less famous Heywards) groundbreaking 1935 opera about life [...]
What made 2013 a thrilling year on D.C. stages was precisely the thing that makes it admirably resistant to year-end trendspotting—the variety, rather than the number, of good shows on offer. My favorite two plays were Studio Theatre’s The Motherfucker With the Hat and Woolly Mammoth Theatre Company’s Stupid Fucking Bird. And exactly what the fuck [...]
Is there any staple of suspense films more hoary than the bomb-defusing sequence? Those glowing red LED digits ticking coolly, unsympathetically down to zero, and oblivion. (Six.) The sweat-dappled brow of the hero as he kneels over the device, alert for boobytraps, trying to quiet his mind so he can assess whether to snip the [...]