- The Washington Times - Thursday, October 25, 2001


• Can a Woman Make a Man Lose His Mind? Warner Theatre. A gospel singer debates whether to sing secular music and gain fame or stay true to his spiritual music. Opens Tuesday. 202/432-SEAT.

• Home Round House Theatre. A Southern man's spiritual journey set against the backdrop of the segregated South and the Vietnam War. Mature audiences. Opens Wednesday. 301/217-3300.

• Kit Marlowe Studio Theatre's Second Stage. Steamy story of the life and many lovers of Shakepeare's rival, Christopher Marlowe. Opens tonight. 202/332-3300.

• Mein Kampf-Komodie Scena Theatre. A Jewish artist crosses paths with a young Adolf Hitler in a Vienna flophouse. Part of the George Tabori Festival. Opens Saturday at Warehouse Theatre, 1021 Seventh St. NW. $10-$25. 703/684-7990.

• A Moon for the Misbegotten Rep Stage. Two lovers find solace in each other in Eugene O'Neill's classic play. Opens tomorrow at Howard Community College. 410/772-4900.

• On Golden Pond The Little Theatre of Alexandria. An elderly couple must unexpectedly care for their troublesome grandson. Opens tomorrow. 703/683-0496.

• Zander's Boat Signature Theatre. Scottish tale of three women who find unity in their shared struggles. Opens Tuesday. 800/955-5566.


• Art Olney Theatre Center ***1/2. Can a painting splinter a friendship? That is the main question posed in French playwright Yasmina Reza's droll and cool drawing-room comedy. The modernist Serge (Alan Wade) loves it, the classicist Marc (Paul Morella) loathes it, and the nerdy patsy Yvan (Christopher Lane) plays spineless middleman. Miss Reza uses erudite discussions about art and the absolute nothingness of the disputed painting to get into the messy stuff about friendships and just how hard it is to forgive someone who you suddenly realize thinks radically different thoughts from yours. Director Jim Petosa mines more humor in his production of "Art" than most others. He keeps things taut, going for the throat and for the laugh in equal measure. He gets three brilliant performances out of the actors, and brings a warmth and humanity to a very cold and distancing play. That is an art in itself. Through Nov. 11. 301/924-3400. Reviewed by Jayne M. Blanchard.

• Eleanor: Her Secret Journey Kreeger Theatre ***. Rhoda Lerman's one-woman play, starring Jean Stapleton of "All in the Family" fame, focuses on the former first lady's life after FDR how she coped with what life threw at her and learned to think for herself and trust her perceptions and opinions. Miss Stapleton adeptly captures the fluty and upper-crusty voice of Mrs. Roosevelt and her delicately wily mannerisms. What charms and inspires you about this show is how the ugly-duckling Mrs. Roosevelt made a magnificent life, where looks were irrelevant. Through Nov. 18. 202/488-4377. Reviewed by Jayne M. Blanchard

• Far East The Studio Theatre. ***1/2. The A.R. Gurney play may have a 1950s military setting, but the social issues in the romantic drama still resonate. Studio Theatre gives the play a vivid staging, with strong acting by the entire cast. Handsome New York actor Matthew Montelongo is especially engaging as bright-eyed, fresh-faced Lt. W.W. "Sparky" Watts, scion of a Milwaukee brewery family and a Princeton graduate who joins the Navy for adventure and experience. The "experience" includes a love affair with a Japanese woman, romantic sparks with the wife of a senior officer and a brush with the issues of anti-Asian bigotry that simmer beneath the surface. Directed by Studio Artistic Director Joy Zinoman, the play is an entertaining production with some clever lines and a somewhat contemporary feel. It makes for a worthwhile journey. Through Nov. 11. 202/332-3300. Reviewed by Susan Beving.

• To Kill a Mockingbird Ford's Theatre *1/2. Because millions of schoolchildren have read Harper Lee's play the past four decades, most audience members have some familiarity with the book and bring some expectations to the play. They are likely to be disappointed with this adaptation by Christopher Sergel. Squeezing the novel into 100 minutes of action destroys the languid pace Miss Lee used to great effect. Director Timothy Childs has the actors recite their lines too quickly, and the actors don't even have time to respond to one another. Miss Lee truly loved the people she wrote about, seeing them as decent but stained by the racism of their culture. Because of the breakneck pace and desultory character development, we barely get to see them as people. Through Nov. 18. $703/218-6500 or 202/347-4833. Reviewed by Eric Johnson

• Shear Madness Kennedy Center Theater Lab **. This corny, hokey tourist trap now in its second decade is doubly maddening because the Kennedy Center displays it as art to the cultural center's unsuspecting pilgrims. The audience-participation murder-mystery farce (set in a Georgetown hair salon) is well-played, though, when the actors refrain from mugging and cracking up one another. The audience rambunctiously analyzes evidence and chooses the murderer in this campy, shtick-filled goof. Continues indefinitely. 202/467-4600. Reviewed by Nelson Pressley.


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