- The Washington Times - Friday, May 2, 2008

OPENING

• Closing Time — Keegan Theatre’s New Island Project at Theatre on the Run — The American premiere of Owen McCafferty’s dark, gloomy 2002 play about dark, doomed drunks in a dark, doomed Belfast pub. Opens May 10. Through June 7. 703/892-0202, ext. 2

• Crumble (Lay Me Down Justin Timberlake) — Catalyst Theater Company at the Capitol Hill Arts Workshop — A lonely girl fantasizes about Justin Timberlake, her widowed mother fantasizes about Harrison Ford, and their apartment suffers in Sheila Callaghan’s play. Opens Wednesday. Through June 7. 202/494-3776

• David in Shadow and Light — Theater J — World-premiere musical retelling of King David’s arc from boy shepherd to aging king. Opens Wednesday. Through June 22. 202/518-9400, 800/494-8497

• Mad Breed — Active Cultures Theatre at Joe’s Movement Emporium — A black freewoman with Shakespearean dreams shows up to complicate a play staged by John Wilkes Booth’s teenage siblings. The world premiere opens tonight. Through June 1. 301/526-9921



• Molora — Kay Theatre, Clarice Smith Performing Arts Center — Yael Farber adapts the bloody “Oresteia” to the atrocities of apartheid-era South Africa as seen through a session of South Africa’s Truth and Reconciliation Commission. With Xhosa singers and musicians of the Ngqoko Cultural Group as chorus. Performances Thursday and Friday only. 301/405-ARTS

• Precious Memories, Part III — Balleseros Productions at Atlas Performing Arts Center — Life in a Southern black community during the Great Depression, as its people fight against a white system of control. Performances tonight and tomorrow only. 202/399-7993

• The School for Scandal — Folger Theatre — Richard Brinsley Sheridan’s 1777 comedy of very bad manners and irresistible folly. Opens Wednesday. Through June 15. 202/544-7077

• Volvio una Noche/She Returned One Night — Teatro de la Luna at Gunston Theatre Two — An underachiever is prodded to succeed by his dead mother, whom only he can see and hear. Opens Thursday.Through May 31. 202/882-6227

NOW PLAYING

• Death of a Salesman — Arena Stage in Crystal City — *** Rick Foucheux embodies the tragic aspects of Willy Loman in a towering, gutsy performance. Nancy Robinette as Willy’s helpmate wife, Linda, is as watchfully aware and resourceful as she is caring. Jeremy S. Holm’s staggering, Stanley Kowalski-like Biff isn’t trapped merely in his father’s inflated ambitions for him, but in his own brutal physicality as well. The tangled dreams of father and son; their intense, injured love for each other; and the family’s legacy of lies and aggrieved loyalty imbue this Arthur Miller classic with weary transcendence. Through May 18. 202/488-3300

• The Happy Time — Signature Theatre — *** Signature’s winsome chamber-musical revival of the seldom seen 1968 Kander and Ebb show “The Happy Time” is both a coming-of-age story for a young boy (the excellent Jace Casey) and the end of a protracted adolescence for the show’s hero, Jacques (Michael Minarik), a jaunty reprobate. Directed by Michael Unger, this revision brings back four numbers snipped from the original Broadway production (a Tony winner for star Robert Goulet and director-choreographer Gower Champion). Through June 1. 703/573-7328

• The History Boys — Studio Theatre — ***1/2 Alan Bennett’s play considers in a hugely enjoyable and thought-provoking fashion the question of whether the purpose of education is inspiration or a leg up on life. A hit on both London’s West End and on Broadway, “The History Boys” gets the Joy Zinoman treatment at Studio Theatre in a fluid, stirring production that emphasizes the social and political aspects of the play. Taking a subdued, reserved approach to the beloved character Hector, the kind of teacher one never forgets, Floyd King provides the audience with one emotional high after another. Through May 18. 202/232-3200.

• Looking for Roberto Clemente — Imagination Stage — *** This world-premiere children’s musical features a buoyant rock score that harkens back to the days of the Jackson Five and 1970s supergroups with tuneful lessons that delve into the nature of heroism. Set in 1972 Pittsburgh, the musical centers on the impact Roberto Clemente’s 3,000th hit has on the life of Sam, an 11-year-old fan, and his friends. Sam is a slugger in his mind and nervous on the field, so when a baseball crashes through his window while he’s listening to the landmark game on his transistor radio, he believes it is Clemente’s ball and imbues it with magical powers. Baseball lovers will find this show irresistible, and the music and engaging, effervescent performances will captivate even the sports-shy. Through June 1. 301/280-1660.

• The Screwtape Letters — Landsburgh Theatre — ***1/2 Christian writer C.S. Lewis’ 1942 book (and the two-person play adaptation) is a dapper, elegant affair — 31 letters penned by an upper-level demon named Screwtape (Max McLean) to his nephew and protege Wormwood that boil over with wit and brimstone. Screwtape has taken Wormwood under his dark wing and instructs him on how to lead the Patient — a man living in wartime England — down the road to perdition. Screwtape’s correspondence is written with such stylish charm — and eloquently delivered by Mr. McLean, who whips himself up into a demonic froth by the end — that it does not seem remotely like a sanctimonious Sunday school lesson. Through May 18. 202/547-1122

• A View From the Bridge — Arena Stage in Crystal City — ***1/2 Obsessive love taints the family dynamic and modest ambitions of Eddie Carbone (Delaney Williams), a Brooklyn longshoreman and the injured heart of this searing, startlingly alive production of Arthur Miller’s play. The dark depths of Eddie’s attraction for his niece Catherine (the disturbingly guileless Virginia Kull) boil over when his wife’s illegal Sicilian immigrant cousins, Marco (a brooding, tightly coiled Louis Cancelmi) and Rodolpho (blond, dapper and charming David Agranov) join the household and Catherine falls in love with the latter. Mr. Williams unforgettably portrays Eddie as a big palooka struggling to express himself in words and disintegrating before our eyes. Daniel Aukin’s direction emphasizes the effect of too many bodies crammed into tight spaces. Through May 17. 202/ 488-3300

MAXIMUM RATING: FOUR STARS

Jayne Blanchard

Sign up for Daily Newsletters

Manage Newsletters

Copyright © 2021 The Washington Times, LLC. Click here for reprint permission.

Please read our comment policy before commenting.

 

Click to Read More and View Comments

Click to Hide