Be Afraid: Get Into The Halloween Spirit With Movies And Theater

A Minute With: Theater director Robert Wilson on ‘Einstein on the Beach’

Theater ” Tales of Mystery and the Imagination ” and “Halloween in Georgetown”: Guillotine Theatre, formerly Georgetown Theatre Company, has an annual tradition of staging readings of Edgar Allan Poe’s stories and poems. This October, the group will perform in Georgetown and at Alexandria’s Athenaeum, as it has in the past, but also inside of an empty burial vault in the Ivy Hill Cemetery. (Thursday-Saturday) ” Titus Andronicus ” The Riot Grrrls present a fierce, all-female rendition of the Bard’s most grisly tragedy, chock-full of Halloween delights, including death and dismemberment, not to mention a little cannibalism for good measure. (Through Oct. 26) ” Extremities “: Molotov Theatre Group is known for its blood-splattering special effects, but the company returns after a long hiatus with a more sobering and thoughtful play. The psychological thriller follows a woman who turns the tables on an attacker and holds him hostage as she decides what to do with him. (Through Nov. 3) ” In the Forest, She Grew Fangs “: For the first full Washington Roguesproduction outside of the Fringe Festival, the group is staging Stephen Spotswood’s updated take on “Little Red Riding Hood” with a girl protagonist tormented by high school bullies. (Through Nov. 3) ” The Pictures of Dorian Gray “: Post theater critic Peter Marks called Synetic Theater’s creepy take on Oscar Wilde’s story “a splatter play.” But the company is offering more than a troubling tale of narcissism. On Nov. 1, it’s also hosting the Vampire’s Ball — a post-show dance party with a costume contest and open bar. (Through Nov. 3) ” Cabaret Macabre “: Happenstance Theater keeps its tradition going with a fourth installment of their part-horrific, part-humorous cabaret inspired by nightmarish Victorian tales. (Oct. 25-Nov. 10) ” A Killing Game “: It’s more amusing than horrifying, but dog & pony dc’s improvised show turns audience members into actors trying to survive a deadly play. (Through Saturday) Stephanie Merry covers Broadway shows movies, theater and art. For the original version and more information, see

Stephanie Merry

Credit: Reuters/Christian Charisius – RTR165GP By Jordan Riefe LOS ANGELES | Thu Oct 17, 2013 6:48pm EDT LOS ANGELES (Reuters) – When Robert Wilson was a struggling young experimental theater artist living in New York in 1973, he met a struggling young composer named Philip Glass after a performance of Wilson’s 12-hour silent play, “The Life and Times of Joseph Stalin.” Wilson and Glass, who would both rise to the top of their fields, would collaborate on the 1976 opera “Einstein on the Beach,” described as “epochal” by the New York Times for breaking with conventions. The opera is now on a rare North American and European tour. A collection of images and symbols related to physicist Albert Einstein, the 4-1/2-hour opera is a non-narrative piece that includes a courtroom scene, a spaceship, a trip to the grocery store – and no intermission. A seashell is meant to hold the sound of the universe, while Einstein himself sits downstage sawing away on his favorite musical instrument, the violin. Wilson, now 72 and a recipient of France’s highest cultural award, spoke with Reuters during the opera’s three-performance run last week at the Los Angeles Opera about his first meeting with Glass and how he brokered a deal to get “Einstein on the Beach” performed at New York’s Metropolitan Opera. Q: What do you recall about first meeting with Philip Glass? A: I knew his music and I said, “How do you write music?” He said, “It’s like this.” And he made a little diagram and explained. Then he said, “How do you make a work?” We both thought in time-space construction and coded our thoughts in math so we could more quickly see what it was that we were doing. So we decided to work together. It was quite easy because we thought alike. For the original version and more information, see

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