BWW Staff Profile: Theatre Life with Jennifer Perry

Today's subject is living her theatre life from a very important vantage point; the audience. Let's face it, without audience members there would be no reason to do what we do.

You might know Jennifer Perry as the senior writer/assignment coordinator for BWW's DC page, but she is an avid theatergoer who attends many, many productions throughout the year, either in a reviewing or non-reviewing capacity.

Born in Liverpool, NY, she came to DC in 2001. After getting her Masters in International Affairs from American University, she started working for the federal government (like everyone else does in DC.)

She met some awkward dude that fits my description in front of a Broadway theatre in 2008 and married said dude in 2010. Tony Award winner LaChanze and local favorite Tina Ghandchilar were among the performers.

Read on to learn more about Jennifer's theatrical interests, and which Broadway musical she has the greatest affinity for thanks to her super close relationship with her little sister. Also, read on for what is Jennifer's real pet peeve when she goes to the theatre. It's not what you might think.

You probably have figured out by now that I am married to Jennifer Perry and to say that she is one in a million isn't doing her justice. We have been married a little over six years and it keeps getting better and better. If you know Jennifer Perry in her theatergoing capacity, consider yourself very lucky. It is people like her who support our artists by attending and writing about the work. We all owe Jennifer a huge debt of gratitude for her contributions to the DC theatre.

How many years have you been attending DC theatre and what was the first local area production you saw here?

I moved to DC in August 2001 to attend graduate school at American University. Time and money were limited in those first few years, but I did catch a few national tours at the Kennedy Center and National Theatre. I began seeing local theatre in this area in earnest about twelve years ago. My first local production was Hallelujah Baby at Arena Stage in 2004. I was in the mood to see a show so I looked at the listings and that one stood out because it won the Tony Award, but has not been produced very much since then. I remember I liked it and after that I started to explore more of the local theatre scene. Initially, I focused my attention on Arena Stage, Studio Theatre, Woolly Mammoth Theatre Company, Ford's Theatre, and Round House Theatre.

How many shows would you say you see in a year and do you ever get to the point where you hit theatrical burnout?

I don't really count, but I would say between 150 and 200 a year. I don't review all of them though. I have experienced theatrical burnout. When I first joined BWW, we didn't have very many writers so I would cover most of the area productions myself. There were a few times I reviewed eight or nine shows a week.

Are you surprised when people only think DC theatre is just about the Kennedy Center and the National Theatre? Please explain why.

Not really. Even if you aren't really a theatre person, I would think going to see something at the Kennedy Center or the National is regarded as a cool night out for many Washingtonians. The national tours that play there often have largely recognizable titles. I love seeing shows at both of those venues too, but when I have the opportunity I like to educate people on other theatrical offerings in our area.

What is your preference? Traditional big splashy musicals? Edgy type of theatre? Or, do you like to change it up and see both kinds of theatre?

I cut my teeth on musicals - mostly the large and splashy kind. Musicals are still my first love, especially new ones. I acquired a taste for edgier theatre here in DC - largely at Woolly Mammoth Theatre Company. I appreciate both equally now. I see all kinds of theatre.

Do you feel Artistic Directors take more risks here in DC than in NYC and why do you think that is?

I love a good Broadway show. I really do. However, I appreciate the regional, non-profit theatre scene and the creative outlet it provides. Risks are definitely more prevalent in the regional scene, but I don't think you can say that directors in DC take more risks than in NYC. There are examples of risk-taking at The Public Theatre and a slew of Off-Off Broadway venues. There's also risk taking here in DC. Woolly Mammoth, Mosaic Theater Company, and Forum Theatre are among the area's most consistent risk takers.

Some people will be surprised to learn that you stutter when you speak. It seems to me that stuttering is never represented onstage as it should be. Do you notice the same thing when you go see a show that has stuttering in it? What do you think theatres need to do in the way of ensuring accurate representation of stuttering and other disabilities onstage?

Stuttering is a hot button issue for me, definitely. My ear is attuned to what I would deem "bad stuttering" in a way that most people's aren't. There aren't many shows that feature stuttering, but when I do come across them there's always a part of me - as an audience member who deals with a severe stutter on a daily basis - that gets really frustrated if the actor/director "pretties" it up, or if the playwright represents it as a symptom or effect of mental illness (as in Tribes) or uses it for comedic effect.

I can't rationalize situations where a playwright incorporates stuttering in a less than thought out way (Tribes put my patience to the test), but there are many reasons why an actor or director might go with a "less is more" approach to stuttering in a production even if the character stutters severely. For example, an actor might only stutter on the first letter of a word for a few seconds, or repeat the same sound the exact same number of times in every instance of stuttering. Artistic reasons, logistics reasons...whatever - they all might come into play. Really, if you represented severe stuttering onstage a play that's supposed to run two hours might run four hours. Can you imagine if it was the length of Angels in America? It would even test my patience.

In some cases though the less than accurate representation of stuttering in a production might be a result of lack of awareness of how stuttering really sounds, and what it "looks like" when you're watching someone stutter. It's awkward to watch and listen to. When I stutter, for example, my eyes tend to blink, and my head moves in a really awkward way. I can't control it. If "bad stuttering" creeps up in a production because of a lack of understanding of what it is, more education might be needed. I think in the case of representing any disability onstage - be it stuttering or whatever else - there's a need to do some homework, and then figure out how to balance the need for accuracy with the artistic vision for the show.

Readers of Broadway World know that you are the assignment coordinator and senior writer for the site's DC page. You have written on pretty much every theatre site in town. What does Broadway World have that the others sites don't and why do you enjoy working for it so much?

I started writing for Maryland Theatre Guide under Joel Markowitz and then eventually also wrote for DC Metro Theater Arts and DC Theatre Scene for a time.

I initially joined BWW because, at the time I started writing for the site, there were only a few local writers. Only a few theatres - mostly those presenting large musicals - were consistently covered. I saw an opportunity to expand the coverage of DC theatre, make it more comprehensive, and potentially attract the national audience that BWW brings in. I continue to write for the site because I appreciate how much work has been put in to what it is today and I really like the flexibility it offers. I have more control not only over what I cover, but also how I cover it.

You have a special affinity for the musical Wicked. Can you please tell us why you love this show so much?

I took my little sister Natasha to see the show shortly after it opened on Broadway in 2003. It was her first Broadway show, and I was absolutely thrilled to be able to take her to the city and see her eyes light up when she first saw Times Square. Although we are very different, we both love theatre. We each saw a lot of ourselves and our relationship in the show. Tasha is more of the Glinda type and I am much more the Elphaba type. I've seen many productions since then - sometimes with my sister and sometimes without - but it always reminds me of her and how important she is to me. There's absolutely no one like her.

Can you please tell us some of the upcoming productions you are most excited about in the DC area?

I am excited to see The Secret Garden at Shakespeare Theatre Company because I've loved the show since I was very young and it's somewhat rare to see a large scale professional production of it. I am also looking forward to seeing what Eric Schaeffer does with Titanic at Signature Theatre. He has a knack for stripping big musicals down to their core. Arena Stage has a few world premieres coming up this season like Roe and Intelligence. I am always up for new shows - potentially thought-provoking ones even more so.

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