Rabbit Hole is certainly one of the best things I've seen onstage in a long while, so I'm glad that the Washington Post (the "money review") sent Nelson Pressley to review it. He gave it a well-deserved rave, as has everybody else, but had the Post's Peter Marks been in attendance, there may have been a different outcome. Marks has lately revealed an impatience with plays about dysfunctional families; his review of Woolly Mammoth's Maria/Stuart pretty much flattened the piece, primarily because of his personal boredom with the premise of the "whacked-out family". The group currently living at Olney is surely dysfunctional, so Marks may have made mincemeat of this delicate, understated depiction of what can surely be described as a living Hell.
Studio Theatre has another regional premiere, containing a very different view of Hell. Jerry Springer, the Opera is exactly that. It is a huge production of operatic proportions, both in cast size and in size of cast. What is it about opera singers? Why are so many of them, shall we say, large of girth? Does all that extra body mass help hit those high notes? Whatever. I very much enjoyed this production, even as I had the same problem I have had with every single opera I have ever attended: