Mary Lincer - Page

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.




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BWW Review: THE DEAD at Scena Theatre PhotoBWW Review: THE DEAD at Scena Theatre
Posted: Dec. 15, 2019


BWW Review: MOTHER ROAD at Arena Stage PhotoBWW Review: MOTHER ROAD at Arena Stage
Posted: Feb. 17, 2020


BWW Review: BOY at Keegan Theatre PhotoBWW Review: BOY at Keegan Theatre
Posted: Feb. 12, 2020


BWW Review: MYSTERY SCIENCE THEATRE 3000 LIVE at National Theatre PhotoBWW Review: MYSTERY SCIENCE THEATRE 3000 LIVE at National Theatre
Posted: Oct. 20, 2019


BWW Review: GLORY DENIED at Urban Arias PhotoBWW Review: GLORY DENIED at Urban Arias
Posted: Jan. 17, 2020


BWW Review: THE MANGANIYAR SEDUCTION at Kennedy Center Eisenhower Theater PhotoBWW Review: THE MANGANIYAR SEDUCTION at Kennedy Center Eisenhower Theater
Posted: Nov. 2, 2019


Theatre Washington Launches Virtual Bucket Brigade PhotoTheatre Washington Launches Virtual Bucket Brigade
Posted: Mar. 31, 2020


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.

BWW Review: MYSTERY SCIENCE THEATRE 3000 LIVE at National Theatre
October 20, 2019

So much theatre nowadays derives from other media, for better or worse. It can be fun to watch teacups dance and phantoms pilot gondolas, but all mermaids do not get creatively adapted equally. Fortunately Mystery Science Theatre 3000 Live depends on its hybrid nature: the fun of it comes from the fact that it's salad. Once a TV show that combined bad movies with snarky comedy, now at the National Theatre, it's still bad movies and comic takedowns of them, but also people, bots (er, puppets), songs, and sketches.

BWW Review: BUTTERFLY at InSeries At Source
September 11, 2019

Soprano Amanda Palmeiro, now performing the title role at English language performances of Butterfly for the InSeries, deserves an opera career as sensational as her voice. Already a prize-winner at Met auditions, she'll perform Papagena with the Washington National Opera's Domingo Cafritz Young Artists program at the Kennedy Center in November.

BWW Review: BETRAYAL at 4615 THEATRE COMPANY
August 19, 2019

Because infidelity and adultery have been so frequently deconstructed in theatre, film, television, and literature during the four decades since Nobel Prize and Tony Award winner Harold Pinter wrote Betrayal, the play's novelty has rather worn off. But that does not get in the way of this production by 4615 Theatre Company. A trio of acting gamers ably meets Pinter's challenges, the toughest of which is that each of these three characters betrays the other two as well as him/herself. Betrayal remains a great piece of work about three real pieces of work.

BWW Review: THE BALLAD OF MU LAN at Imagination Stage
July 1, 2019

Children will thoroughly enjoy the vivid physicality of Alvin Chan's hour long adaptation of The Ballad of Mu Lan, onstage at Bethesda's Imagination Stage through August 11. Chan's use of the stylized movement Jingju (Beijing Opera) suits both the 1500 year old Chinese tale and the requisites of children's theatre: the style is broad and active yet simple to read. Chan's script in up to date English completes a package which also includes gorgeous scenery and props by Joseph D. Dodd, sensational cinematic, animated videos by Chesley Cannon, and colorful costumes, also by Chan.

BWW Review: GWEN AND IDA: THE OBJECT IS OF NO IMPORTANCE at Nu Sass At Caos On F
June 21, 2019

GWEN AND IDA is a work of fiction, a fantasy. Any resemblance to actual human beings is purely coincidental,' concludes the program for Gwen and Ida: The Object is of No Importance, currently at Caos on F Street. Of course, the lives of painter Gwen John and actordirector Ida Lupino could each make a full length documentary of serious importance with slides of John's elegant paintings and clips of Lupino's always forceful acting (They Drive by Night [1940], While the City Sleeps [1956]) and the 1964 episode she directed of 'The Twilight Zone' ('The Masks'), the only woman ever to do so. Instead, David S. Kessler has written his fantasy which cannot help but distort the significance of the women's lives and careers.

BWW Review: TWO COMPANIES DEDICATE A BALLET EVENING TO ARTHUR MITCHELL at Kennedy Center Opera House
June 3, 2019

The Miami City Ballet began its Friday Ballet across America evening with George Balanchine's Walpurgisnacht Ballet (1980), 'definitely the world according to Balanchine,' wrote Suzanne Farrell in her autobiography. The Miami ensemble got off to a ragged start, literally not up to speed, but once Principal Katia Carranza took the stage, in the role originated by Farrell, the ladies got with the program. Carranza combined necessary speed and technique with glorious attention to musical detail; every beat has been choreographed, and Carranza never missed one even if all she had to move was just a portion of an arm. Her cavalier, Rainer Krenstetter, added to his substantial elevation significant skill in landing--not only softly, but often exceptionally still. And by the time the Gounod score reached its feverish finish, the Corps de Ballet were at last working with the precision required for the final wedge formation; Balanchine's final image requires absolute solidity from the Corps as backdrop so that the sensational to the shoulder lift of Carranza by Krenstetter contains the power it's meant to.

BWW Review: Choral Arts Society Of Washington Finishes Season In All-French Program At Kennedy Center Concert Hall
May 20, 2019

When Scott Tucker, in his pre-concert introductory remarks before Sunday's Choral Arts Society of Washington performance, said that composer Florent Schmitt's style in Psalm 47 is 'off the wall,' he wasn't kidding. The 1903 setting for chorus, soprano, orchestra, and organ also includes brass, percussion, harp, timpani and sounds more like Mahler, Wagner, or Schonberg than the work of a man trained in composition by the always diplomatic innovator, Gabriel Faure. The gigantic, melodramatic, and ever dynamic piece--fun for musicians such as these, challenging, hard to sing, dandy--concluded an interesting program in the Kennedy Center Concert Hall.

BWW Feature: MICHAEL KAHN & FRIENDS, Off The Record At The Shakespeare Theatre Of Washington
May 21, 2019

The fun of an evening such as this week's 'Michael Kahn & Friends, Off the Record: The Lansburgh Years, 1992-2007' derives from the relaxed, unscripted content provided by those who usually offer scripts to an audience. The three actors and one former administrative colleague who joined Kahn at the Harman Wednesday to visit memory lane required little prompting by moderator Tom Story to recall and reminisce about their work with the Shakespeare Theatre Company during the Lansburgh Years. Once Story asked each to remember his/her first meeting with Michael Kahn, a series of photos of past productions drove the evening of anecdotes.

BWW Review: 14 at THEATRE PROMETHEUS
April 29, 2019

The energetic Theatre Prometheus has skillfully mounted a timely production of 14, a play by Jose Casas in the 30-seat Caos on F Street space. Inspired by the deaths of 14 Mexican migrants in the desert bordering the USA and Mexico back in May 2001, Casas' play takes an unsparing look at the situation that has, of course, become worse 18 years later. He does it not by writing the stories of those who died (though he honors them by name); rather his characters live near the border, some in Mexico, others in Arizona, Texas, and California. Their stories combine to illuminate many facets of America's current argument/conversation about who gets to come into this country. The stalwart cast of four play 16 very recognizable people, each with opinions about and connections to that border. By concentrating on ordinary lives, Casas avoids politics and spotlights human behavior. Spending time with these 16 people is more informative than a long article in The Washington Post, as entertaining as reality TV, and frequently moving.

BWW Review: CLOTHES FOR A SUMMER HOTEL at RAINBOW THEATRE PROJECT
April 7, 2019


BWW Dance Review: ANALOGY/TRILOGY at Eisenhower Theater, Kennedy Center
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.



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