Category Archive for: Reviews

Metro Weekly: TOP GIRLS

THE AUDACIOUS OPENING act of Caryl Churchill’s modern classic Top Girls assembles a millennium’s worth of female power, pain, and wisdom at one lively dinner party. Setting the mood for a story focused on modern career woman Marlene (Karina Hilleard), Churchill enlists five larger-than-life female figures — real and fictional, legendary and literary — to voice the

MD Theatre Guide: TOP GIRLS

In the original 1982 New York Times review of the Public’s production of “Top Girls,” critic Frank Rich explained the way that the playwright Caryl Churchill sees the theatre as “an open frontier where lives can be burst apart and explored.” It recalls an image of the playwright as a conjurer, creating characters like stars

DC Theatre Scene: TOP GIRLS

A look back at the past that contains a look back at the distant past, Top Girls comes across as almost more of a recently-written period play than the 1982 piece that it is. That is a credit to playwright Caryl Churchill’s balanced eye, which captures the tone of the era in which she wrote it without

DC Metro Theater Arts: TOP GIRLS

With an opening act that rocks with ego and overlapping dialogue and grotesque caricature, when the realism sets with its equally vivid, yet profoundly disturbed characters, we in the audience accept the mythology of our own perceptions. We accept the falseness of our own declarations of truth. We accept the battleground called life. It turns

Washington Post: TOP GIRLS

The opening act of Caryl Churchill’s 1982 “Top Girls” is still breathtaking as women ranging from the ninth-century Pope Joan to 13th-century concubine Lady Nijo and Victorian-era explorer Isabella Bird gather for a vivacious dinner party hosted by a modern employment agency manager who is celebrating a promotion. The final act of Thatcher-era class warfare knifes into

BroadwayWorld: STONES IN HIS POCKETS

Director Abigail Isaac Fine has given audiences a worthy production of Jones’ famous play, perhaps the greatest sign of her talent being her ability to render the many shifts in character and location so seamless that the audience can’t help but go on the whole journey, nearly effortlessly. Stones in his Pockets is a treat, and yet

Metro Weekly: STONES IN HIS POCKETS

While the movie [at the center of the plot, The Quiet Valley,] appears to be a fairly inauthentic class-warfare drama involving turf diggers, a precious lady of the manor and a local hero on horseback, the play’s voice rings true.  And Keegan Theatre’s production, directed by Abigail Isaac Fine, delivers [playwright Marie] Jones’ dense chorale of

Washington Post: STONES IN HIS POCKETS

Keegan Theatre has put a nice polish on the 1990s “Stones in His Pockets,” Marie Jones’s two-person comedy about rural Irish townspeople coping with a big budget Hollywood film crew. It’s an actors’  showcase, and Josh Sticklin and Matthew J. Keenan playfully embody everyone from town elders to an American starlet. Keenan is particularly flexible,

MD Theatre Guide: STONES IN HIS POCKETS

Abigail Isaac Fine returns to the Keegan stage to direct this two-hander.  Even though the play only has two actors, they play multiple different roles of various ages, genders and histories. This calls for extreme acting chops, and Keegan Theatre did not disappoint. Charlie Conlon, a smooth operator who dreams of producing his own script,

DC Metro Theater Arts: STONES IN HIS POCKETS

Engaging with warm-hearted humor and disarming in the depth of scenes about lost boys and bitter men with their dreams crushed, the Keegan Theatre production of the Marie Jones’ Stones in his Pockets (1999) is a winner of a serious comedy. Under the affectionate, perceptive direction of Abigail Isaac Fine, Stones in his Pockets aims for and succeeds at understanding; it’s



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