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Tag Archives | Leila Buck

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Take A Bow Part 2: The Staff of DCMetroTheaterArts’ Favorite Spring/Summer 2016 Performances

Here’s Part 2 of the staff of DCMetroTheaterArts’ favorite Spring/Summer 2016 performances. To our honorees: TAKE A BOW! ____ Stori Ayers as Alma (and others), in Yellowman at Anacostia Playhouse. Stori Ayers’ performance as Alma is magnificent. The hurt inside the character—which Playwright Dael Orlandersmith’s script makes explicit—coexists in Ayers’s incandescent embodiment with a warmth, humor, and largesse […]

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Spine: Becoming Leila Buck’s ‘Hkeelee’ at Mosaic Theater Company

In The Protean Self, Robert Jay Lifton explores the wonders of human resilience in times of profound disturbance and change. In Hkeelee (Talk to Me), a theatrical memoir of sorts, writer and performer Leila Buck embodies that wonder, that resilience, and those dramatic changes through her real life relationship with her Teta, her Lebanese grandmother, Jeanne Lababidi. The final […]

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SPINE: Theatre, Culture, and History in the Belly of the Beast: “THE ADMISSION: The Theatre of War and National Identity, Lovely or Otherwise”

I recently experienced Motti Lerner’s The Admission, Theatre J’s production remounted by Busboys & Poets at Studio Theatre (my review is here). The controversy that the play generated was surprising only in the fact that a controversy existed at all. I mean, for the most part, American theatres (Washington theatres included) steer clear of explosively controversial […]

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‘The Admission’ at The Studio Theatre

In playwright Motti Lerner’s provocative and relevant play, The Admission, now playing at The Studio Theatre (as originally produced by Theater J), the question of when does the personal become the political and vice-versa becomes paramount. This tension between the personal and the political seems to comprise the crux of this bold and stimulating play. […]

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‘The Admission’ at Theater J by John Stoltenberg

As many who follow local theater news know, Theater J’s production of The Admission has been preceded by an offstage drama—a who’s-right/who’s-wrong argument, a what-really-happened/what-really-didn’t-happen controversy that has provoked passions and incited a considerable clash of intellection.  Turns out, the onstage drama of the play itself—the extraordinarily artful disputation playwright Motti Lerner has crafted for his seven […]

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