Skip to main content
RESOLVING HEDDA at
WASHINGTON STAGE GUILD

SPECIAL ALERT As a double treat, WSG will host Reading Hedda Gabler on Wed., April 10, at 7 pm.  with he same cast in their corresponding roles in the Ibsen classic.
Hedda Gabler is hilarious.  If you never thought of Ibsen’s heroine like that, Hedda herself in John Klein’s very hip Resolving Hedda will  explain it all to you --what is really going on in a way that Spark notes have missed all these years. 
Being one of the most important characters in modern drama isnot enough if it means dying every night.  Kelly Karcher as Hedda is determined to have her life go on after the show.  The audience is rooting for her all the way as she leads a cast of zanies starting with her hapless husband, George ( Jamie Smithson),  who is more concerned with Eilert  (Matthew Castleman) as an academic rival rather than his role as Hedda’s erstwhile lover. 
There is Thea (Emile Faith Thompson) Hedda’s innocent foil, Judge Brack (Steve Beall) who mixes it all up and Aunt Julia (Jewell Robinson) who joins in the confusion.
It’s double the fun when ridiculous characters don’t get the jokes they are.
While updating 19th century  women characters in terms of 21st century ideas on feminism seems to be popular, most revisions take a serious vein.  This is the time —and the need I might add— for a good look at it all through a comic eye.  And the surprising (spoiler alert) ending to this is the point—that Hedda is still who she really is in the end.   And maybe to add, we never really knew her before when only looked  through one of the very old and dusty lens.
Making her Stage Guild debut as set designer is Tara Lyman-Dobson. Other design elements are provided by a trio of WSD resident designers—Sigrid Johannesdottir with costumes, Frank DiSalvo with sound, and Marianne Meadows with lighting.
Resolving Hedda WASHINGTON STAGE GUILD   to  April 14


Popular posts from this blog

  Once is here again!   The Brooklyn Gallery Players reach into the treasure chest of great musicals to bring Once alive and on stage in Brooklyn (until to December 17, 2023). Director Mark Gallagher , and Music Directors David Fletcher and Brendon McCray have crafted a vibrant production, seamlessly integrating the 15 member cast in roles  as both actors and musicians. Set in Dublin, the  formula for the poignant love triangle  is simple. Patrick Newhart  plays Guy, an Irish musician who has given up  on love as he sings the award winning classic  Falling.  Newhart mastered the bombastic busking guitar style and performed each of his songs with intensity and passion Sophie Smith-Brody  is Girl,  a Czech woman  who will inspire him to try again both in  love and with music. Smith-Brody performed each of her disparate songs with aplomb,  from the opening classical piece to her plaintive solos – If You Want Me and The Hill.  The performance starts  with an “ impromptu”  p
               TINA - THE TINA TURNER MUSICAL  at The National Theatre              In the 1970s, I  had spent weeks climbing around ruins in Peru.  I heard music of the Andes all over.  I  was  finally at  Machu Picchu to spend the night so I could get up early  and climb to see the sunrise from the top of the ruins.   As I got to steps by the gatekeepe,  I could hear his boom box blaring across the Andes “I Wanna Take You Higher”  by Tina Turner.   You don’t have to go climbing the Andes to hear her songs — Tina-The Tina Turner Musical  isright here  at the National Theatre, Washington DC,  until  Oct. 23, 2022.    The show has broken all records with the awards it has received since in premiered in April 2018 in London.  No one questions that Tina is a musical legend but  for this show  accolades to  the stars Naomi Rodgers and Zurin Villanueva who alternate in the  spectacular role.   At every performance there will be people  who remember seeing Tina “back when” and
  Sarah Ruhl’s Orlando — sparkling wit and ageless wisdom —   at   Constellation Theatre — gone but not forgotten In Virginia Woolf’s Orlando A Biography ,  the eponymous hero undergoes many changes over the centuries— from roles in society and relationships to sex change.  Since the time travel gender bending work was published in 1928, this his/her story has continued to undergone adaptions to its original form, from analytical scholarly critiques to crowd pleasing  movies and stage plays.  Constellation Theatre Company continued  the tradition with its amazing presentation of Sarah Ruhl’s narrative play Orlando .    Five actors  take on dozens of roles as characters or in the  chorus to keep the story at its rapid pace,  condensing events spanning almost five centuries into 100 minutes.   Orlando (Mary Myers) is  ever the aristocrat whether as a page in the court of  Queen Elizabeth I (Alan Naylor)  or involved with a mysterious Russian princess (Edmee - Marie Faal) or pursued