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Mary Lincer

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 Review: WRITTEN IN STONE at Kennedy Center's Eisenhower Theater PhotoBWW Review: WRITTEN IN STONE at Kennedy Center's Eisenhower Theater
Posted: Mar. 7, 2022

BWW Review: Doña Rosita la soltera at Gala Hispanic Theatre PhotoBWW Review: Doña Rosita la soltera at Gala Hispanic Theatre
Posted: Sep. 13, 2021

BWW Review: DIE, MR. DARCY, DIE! at Best Medicine Rep PhotoBWW Review: DIE, MR. DARCY, DIE! at Best Medicine Rep
Posted: May. 1, 2022

BWW Review: THE IMPROVISED SHAKESPEARE COMPANY at Theater Lab/Kennedy Center PhotoBWW Review: THE IMPROVISED SHAKESPEARE COMPANY at Theater Lab/Kennedy Center
Posted: Dec. 10, 2021

Posted: Nov. 22, 2021

BWW Review: MARYS SEACOLE at Mosaic Theater Company
May 9, 2022

Mary Seacole (1805-1881) had more skills than José Andres; in addition to establishing catering in war zones (Seacole set up a rest stop for British soldiers near the front lines during the Crimean War.), she also provided health care services during Jamaica's 1850 cholera epidemic and Panama's the following year.

BWW Review: DIE, MR. DARCY, DIE! at Best Medicine Rep
May 1, 2022

BWW Review: YOGA PLAY at Keegan Theatre
April 11, 2022

For Keegan Theatre's regional première of Yoga Play by Dipika Guha, Set Designer Matthew J. Keenan provides a sleek, beige unit set onto which Jeremy Bennett's projections shine, pop, narrate, move, and comment. (Be sure to read the changing smoothie descriptions in the Jojomon canteen.) Cindy Landrum Jacobs dresses the set with useful objects which multi-task effortlessly, and Alberto Segarra's lights unify everyone's work. Sound Designer Dan Deiter lets the audience down once in Act I when a phone conversation with a character's mother is garbled and plot points are thus muffled. Otherwise, a very complicated sound plot enhances the production. Shadia Hafiz' costume choices suit southern California corporate offices and yoga studios everywhere.

BWW Review: WRITTEN IN STONE at Kennedy Center's Eisenhower Theater
March 7, 2022

The Washington National Opera has gathered a company of first rate singers for a portmanteau of four, one-act operas called Written in Stone. Unfortunately, their fine skills and exceptional voices cannot make silk purses out of scores, libretti, and orchestrations that evade aesthetics, emphasize negatives, and ignore the connection implicit in musical theatre between the notes and the text. This world première requires an orchestra to seem to be playing a piece of music that is not the same piece of music as the singers are singing. The last time this many groups of unfriendly instruments had a gig in a first run house was probably PDQ Bach's last show in Carnegie Hall. Gesamtkunstwerk this isn't, and it lasts for two and a half hours.

December 10, 2021

Likest thou to laugh? Then get thee to the Theater Lab at the Kennedy Center through December 19 for The Improvised Shakespeare Company who returneth with 90 minutes of gallimaufry for mature groundlings only. The lads invent what viewers dealt/in Shakespeare's words, so timely felt/clad but in sword and in dance belt. In other words, five gentlemen are going to make you laugh for an hour and a half with no sets, no costumes, no props, no sound cues, no microphones, no play--just one suggestion from the audience plus every situation, complication, characterization, and implication in every play that Shakespeare ever wrote. See these players well bestowed, because they don't know whose line it is anyway.

November 21, 2021

Acoustic Rooster's Barnyard Boogie: Starring Indigo Blume

BWW Review: THE PAUL TAYLOR DANCE COMPANY at Eisenhower Theater
October 9, 2021

The Paul Taylor Dance Company has brought a brief but cheerfully charming program to the Eisenhower Theater at the Kennedy Center for a short run through October 9. It's a thirst-quenching performance after our drought. The two pieces run less than 90 minutes, and time will fly because you will be. . . well, you know.

BWW Review: Doña Rosita la soltera at Gala Hispanic Theatre
September 13, 2021

Led by the masterful Mabel del Pozo in the title role and Luz Nicolás as her aunt, GALA Hispanic Theatre has mounted a nuanced and visually rich production of Federico García Lorca's 1935 play, Doña Rosita la soltera, adapted by Nando López.

May 24, 2021

It doesn't get more site-specific than this, people: Solas Nua's doing a play called In the Middle of the Fields in the middle of a field! Starring as the field, P Street Beach; who knew she's been waiting for her close-up as a legit house all this time?

BWW News: The Actors' Center of Washington Continues to be a Resource for Performers
May 21, 2020

The Covid-19 pandemic has caused many theatres and theatre companies to struggle to stay afloat. But the 39-year old Actors' Center of Washington (AC) has found ways to adapt which sustain its mission to provide actors with resources to help them to succeed. The importance of the on-line audition announcements, the library of plays, the postings of PWYC performances and other events, and the on-line casting database, which the AC manages for its 800+ members, has necessarily receded during this time of closures. But Emily Morrison, Acting Executive Director of the AC, says that the classes, workshops, and training services always announced and provided by the AC have now increased in significance. Historically, the non-profit Actors' Center has organized its activities around actors' needs, she explains, pointing out that actors have to stay in shape just as athletes do. Since auditioning for shows has been curtailed by the pandemic, Morrison notes that it's the perfect time for actors to work on developing new skills while maintaining techniques. Accordingly, the AC has expanded its role in actor training.

Theatre Washington Launches Virtual Bucket Brigade
March 31, 2020

Theatre people pre-date the gig economy.  Itinerant performers entertained villages centuries before the first theatre building was constructed.  And Shakespeare's Globe Theatre often had to lay off the whole company because of epidemics of plague.  Now, in the Washington, DC area, ninety theatre companies have had to cease operations because of covid-19.  Many of those who work in them as actors, designers, lighting, sound, and costume staff, directors, and box office personnel do not have benefits such as sick leave and health insurancea?'they just get paid show to show.  Fifty productions had to be cancelled and twenty more, which were about to open, never will.

BWW Review: MOTHER ROAD at Arena Stage
February 17, 2020

By 1939. the Depression had begun to wane, but Dorothy still took a road trip to Oz to find out that there's no place like home. John Steinbeck published The Grapes of Wrath that year; the Joad family also had to leave their Oklahoma home and hit the road because the Dust Bowl was no Miss Gulch nor a dream they'd wake up from. Steinbeck called the road they took, Route 66, the Mother Road which has given Octavio Solis his title for Arena's current production through March 8.

BWW Review: BOY at Keegan Theatre
February 12, 2020

Angry irony does not usually get used to describe the lyrics of Oscar Hammerstein. But there isn't always a bright golden haze on the meadow. 'You've got to be taught to be afraid/of people whose eyes are oddly made/and people whose skin is a different shade,' came from his pen as did, 'You've got to be taught before it's too late/before you are six or seven or eight. . . .' The character who sings these words in South Pacific is furious because he's a white man in love with an Asian woman, and in the late 1940s, he's surrounded by people who'd find her eyes to be oddly made. Adam Turner, the eponymous character in Anna Ziegler's Boy being taught what to be before it's 'too late,' also has the double whammy of being the person who doesn't fit society's idea of how to be. The situation jumps out of Hammerstein's league into Orwell's because it's doubleplusungood. But that word's off the table as applied to Keegan Theatre's fine production of the 90 minute Boy; directed with skill and compassion by Susan Marie Rhea.

BWW Review: GLORY DENIED at Urban Arias
January 17, 2020

Jim Thompson, an Army Ranger and POW of the Viet Namese for 9 years, deserves to have his story widely known. In 2001, Tom Philpott published an oral biography of Thompson; later that year, the next undeclared war was triggered. Glory Denied, a 90 minute opera based on Philpott's book, definitely contributes to raising Thompson's profile. Urban Arias has mounted a strong production of the 2007 one-act work in English through January 19 in the Keegan Theatre's space on Church Street.

BWW Review: THE DEAD at Scena Theatre
December 15, 2019

BWW Review: THE DAY at Kennedy Center Eisenhower Theater
December 7, 2019

BWW Review: THE MANGANIYAR SEDUCTION at Kennedy Center Eisenhower Theater
November 2, 2019

BWW Review: PORT AUTHORITY at Quotidian Theatre Company
October 27, 2019

Conor McPherson's 2006 play, Port Authority, now onstage in Bethesda at Quotidian Theatre, lacks bells, whistles, or coups de theatre. But Thornton Wilder quoted Molière as saying that all he needed for theatre was passion and a platform or two. And that's what's on offer in the well-acted revival of the 90 minute piece.