Mary Lincer (MA, Theatre Arts, Penn State) has directed more than 30 shows for schools and small professional theatres in Washington, DC and State College, PA. She was one of 30 teachers selected for the National Endowment for the Humanities Institute, Shakespeare: The State of the Art. She’s worked as a Dramaturg for Arena Stage and has written study guides for The Kennedy Center as well as Troika, NetWorks, and OFT-ON Productions. She wrote the brochure for the 75th Anniversary of the Warner Theatre. She’s introduced classic films on camera locally on WNVT and written theatre reviews for The Washington Blade. From 2004-2009, she taught theatre history and acting for musical theatre with US Performing Arts Camps. During 2002, Lincer served as a nominator for The Helen Hayes Awards and subsequently served as a judge from 2004-2006 and again from 2008-2009. She has coached professional actors since 1993 and frequently offers monologue and Shakespeare workshops along with Scene Study and musical theatre classes with The Actors’ Center of Washington.
BWW Dance Review: ANALOGY/TRILOGY at Eisenhower Theater, Kennedy Center
March 30, 2019
March 30, 2019
The second section of Bill T. Jones' Analogy/Trilogy, Lance: aka Pretty the Escape Artist, uses sound design, collage, projection, samples, a score by Nick Hallett, and quotations from Jones' conversations with his nephew Lance T. Briggs along with Jones' choreography to abstract Briggs' biography into this engrossing theatre piece. Jones shares choreography credits with his original cast. The strength of the dancers and the dancing surpasses every other element. The nine performers create scenes and episodes from Briggs' life: his audition for the San Francisco ballet as an 8 year old boy; his various cabarets and drag performances in New York and across Europe; his performance as a 'working girl' in The Castro.
BWW Review: LA PALOMA AT THE WALL at InSeries At GALA
March 25, 2019
March 25, 2019
The only wrong notes in La Paloma at the Wall, the current InSeries production at GALA, take place when the performers stop singing and try to act the clumsy script of this adaptation of the zarazuela, La Verbena de la Paloma (1894). No parallels exist between the migrant mother from Guatemala separated at the US border from her daughter and the charming people in the zarazuela, who exist in a rom-com that has an ugly sexist undercurrent. In a musical theatre landscape where Miss Saigon and Rent prove that musical forms can re-shape to refract their sources (Madama Butterfly and La Boheme) into absolutely contemporary adaptations, a way could exist for a zarazuela to connect a 21st century audience to current events via an earlier medium. But the script for this often lovely production never locates such a way. In the land of zarazuela, as with so much operetta and musical theatre, the lovers are united, and the bad guy is thwarted. But the current migrant situation at the border of the US and Mexico does not provide a parallel to such a satisfactory plot conclusion.
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