Some images from our production of This Storm is What We Call Progress -- (c) 2008 by Keith A. Erickson.
Peter Marks of the Washington Post wrote a very nice review. I love how Rorschach has carved out this brand for itself -- a standard that carries over into mainstream criticism of the company. If there's a psycho/history play with lots of blood and sex that bites off way more than it can chew, we will pounce on it. As the oft-referenced Tony Kushner explains it, excess and pretension are not liabilities; they are essential ingredients!
It's a rich vein of robust, omnidirectional narrative style that has marked American literature since Melville (who happens to be Kushner's favorite). Another review, from the Washington Times, found the play more scattershot and disorienting. But even that vantage allows for some dizzy pleasure.
For the most effusive review to date, check out Tim Treanor at DC Theatre Scene.
As if the opening night wasn't fun enough, I got to wake the next morning and hang out with Callaghan and Co. over at Woolly Mammoth. Her Fever/Dream will be there next year and I had just seen Crumble: Lay Me Down Justin Timberlake (at this theatre, directed by this gal), so I was excited to be in the same room while she, Howard, and Woolly's literary staff threw noodles against the wall. Now that I think about it, that workshop was one of the more constructive and invigorating I've seen in a while. I hope it felt that way for Sheila because she's got an exciting, ripe monster of a story with this adaptation of Calderon's "Life is a Dream."
In the meantime, Grote's own "Maria/Stuart" will be at Woolly this coming September. We at Rorschach Theatre take great pride in introducing him to DC at least six weeks before that. Ha HA! Nous sommes plus avant-garde que toi!