About 10 years ago, Arlington's American Century Theater was facing a doomsday scenario. With a deficit of more than half of its operating budget, "we were technically bankrupt," says Artistic Director Jack Marshall, who had to resort to using contributions from the troupe's then-current season to pay the previous year's bills. But the company soldiered on, reorganized its board, [...]
Posts Tagged ‘American Century Theater’
Kriston Capps leads the arts section with a critique of the Hirshhorn's apparent strategy of big-name monumentalism—which continues this month with a splashy three-year basement installation by Barbara Kruger. Tricia Olszewski reviews two films about the family relationships we sometimes deceive ourselves into—Celeste and Jesse Forever and The Imposter. Marcus J. Moore listens to Lovejoy [...]
Leading this week's Washington City Paper is sage advice from Ally Schweitzer and Michael J. West on how to not screw up the Howard Theatre, the newly restored historic venue that reopens this month. Also in the feature well, I have an essay in which I untangle the contradictions of supporting arts scenes simply because [...]
City Paper readers know that I'm not a theater critic, but Jules Feiffer is a cartoonist from way back, long before he became a playwright. The American Century Theater has revived Little Murders, his 1967 play about the decline of New York City and individual morals. The dark comedy centers on a family, their [...]
Inside this week's Washington City Paper you'll find our valuable guide to self-improvement, detailing the city's large multitude of specialized classes, from salsa classes to Djembe African drumming. Also, apparently we put a penis on the cover. Check back on Arts Desk later today for arts-and-culture-related highlights from the guide.
Benjamin R. Freed leads the arts [...]
"You'll never stop laughing at those lusty heroes of Stalag 17," declares the trailer for the 1953 Academy Award-winning Billy Wilder film of the same name. But in the American Century Theater's version of the story, the laughs don't come quite so easily. Director William Aitken has returned to the original text of the 1951 [...]