Review | The burden of imprisonment comes into focus at three D.C.-area theaters

"Trapped in a mound of earth. In a house of mourning. In a prison of fear. Images of confined women are departure points for three current D.C.-area theater productions: two deftly staged classics and a strained but wise world premiere. Brooding over the human condition, the plays variously acknowledge death, sexism, cruelty, existential dread and the difficulty of finding common ground with your neighborhood barista. But each work extends at least some optimism, including by recognizing the gift that is human connection."

"referring to the nearby presence of her laconic husband, Willie (Matty Griffiths). Now on view in a riveting Washington Stage Guild production directed by Alan Wade, "Happy Days" introduces us to Winnie as she carries out daily routines while, inexplicably, buried waist-deep in the earth. Stoic and chatty, Winnie sustains herself with small satisfactions, such as reminiscing. Getting an occasional reaction from Willie is a particular joy."

"With ace comic timing and expert modulation of tone and expression, the terrific Steinmetz keeps the play lively, disturbing and funny. Even a tiny gesture, such as the satisfied pat Winnie gives her toothbrush early on, can be unsettling and droll. The production does fumble a (surprise) special effect. On a more positive front, Griffiths is a solid supporting player - check out the way Willie painstakingly positions his hat at a jaunty angle - and Cody Von Ruden's costumes, including Winnie's elegant green-and-white frock, add to the fable's wrenching absurdism."

Three current D.C.-area theater productions center on images of confined women confronting death, sexism, cruelty and existential dread while still offering glimmers of optimism through human connection. Samuel Beckett's Happy Days features Winnie (Lynn Steinmetz) buried waist-deep, sustaining herself with routines, reminiscence and the nearby presence of her laconic husband, Willie (Matty Griffiths), in a Washington Stage Guild production directed by Alan Wade. Steinmetz's comic timing and subtle gestures keep the piece lively and unsettling. The production stumbles over a surprise special effect, while costumes by Cody Von Ruden enhance the play's absurdist fable. Federico García Lorca's La Casa de Bernarda Alba, directed by José Zayas at GALA Hispanic Theatre, reads as mythical and visually striking.

Read at The Washington Post