24 stories by "Chris Klimek"
Neil Patrick Harris has directed a new, scaled-up production of Jonathan Larson's musical "Tick, Tick … Boom!" at the Kennedy Center.
Signature Theatre's "Private Jones" is based on the life of a solider in World War I.
Critic Chris Klimek offers a remembrance of the late illusionist, author and actor Ricky Jay, for whom he worked as a personal assistant over a decade ago.
One of TheatreWashington's most competitive awards can take a new theater company to the next level"but not always.
Collectively, this Shakespeare Theatre twofer is a wild, fun-filled riot with laughs aplenty for the whole family.
Half a century later, the play that gave Stoppard his start is as forbidding as ever.
Kimberly Gilbert, a D.C. theater stalwart, makes her Studio Theatre debut in a perfectly acidic comedy role.
The best theatre of 2014 wasn't new. But a few premieres set for 2015 hold promise.
The Old Trout Puppet Workshop's characters meet demise after lurid demise in a series of wickedly gratifying fake plays.
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 …
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 W…
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 up…
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 t…
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 of…
The Apple Family Plays have nothing do with iPads or MacBooks or the indignities visited upon those who assemble them. Richard Nelson's quartet of hypercontemporary dramas attempt merely to …
The Million Dollar Quartet's arrival at the Kennedy Center's Eisenhower Theater is a sort of homecoming for the now five-year-old Sun Records musical: After an initial staging by Floyd Mutru…
If you read all the way to the end of my recent cover story on divisive monologuist Mike Daisey's return to Woolly Mammoth Theatre Company — where he "birthed" his much-discussed show …
When elements of Mike Daisey's monologue The Agony and the Ecstasy of Steve Jobs turned out to have been fabricated, journalists didn't line up to attack Daisey the way henchmen do in martia…
I've been thinking and writing about celebrated/despised monologist Mike Daisey's imminent return to Woolly Mammoth Theatre Company with a revised version of his Apple manufacturing expose T…
For their 2010 stage adaptation of Double Indemnity, David Pichette and R. Hamilton Wright went back to James M. Cain's Depression-era serialized novel about an insurance agent who plots to …
Watchmen author Alan Moore, whom many regard as the most fertile mind ever to devote itself to writing comic books, used to drive artists batty with his hyper-detailed descriptions of the ar…
For me, the most interesting exchange in Mike Daisey's hourlong public Q&A at Woolly Mammoth Theatre Company last night was the one I've transcribed below. I've indicated where I couldn…
Oh, Mike Daisey, why can't I ever stay mad at you?
No, really, I can't. That's fine; there's more than enough bile coming from everyone else to pick up the slack of my outrage deficit.
"Thi…
The difference between "I saw it with my own eyes" and "I read it in The New York Times" is not thin, like the six-month-old MacBook Air I'm typing this on. It's huge, like the six-year-old…
