[Director] Brnadon McCoy, a Keegan company member, has assembled an able cast and design team to bring to life Guare’s well-spun yarn. … Matthew Keenan’s spare and elegant set consists of a two-sided spinning Kandinsky and free-floating pieces of white flats that hang like disengaged puzzles pieces.
Keegan Theatre’s stimulating production of Six Degrees of Separation is worth seeing for all the reasons my colleagues Julia Hurley and David Friscic have pointed out. The reason that knocked me out last night, however, was the fascinating performance of Ryan Swain.
Director Brandon McCoy’s artsy production (modern painting, white panels, silhouettes) is reasonably stylish, and the listening is acute as Paul beguiles the rich people he wants to belong with. Ryan Swain is a smooth talker as the elusive Paul, and the connection with Susan Marie Rhea’s anguished Ouisa sends you out of the theater properly unsettled about the separation Guare so adroitly maps.
John Guare’s play is a work that defies expectations at every turn, keeping us guessing until the very end. The Keegan Theatre’s production will make audiences laugh and break their hearts all at once, leaving us hoping that we lead better lives than the ones we see portrayed here.
The transcendent vision of playwright John Guare has been replicated to perfection by Director Brandon McCoy and his cast. Do not miss Keegan Theatre’s exquisitely–mounted production of Six Degrees of Separation!
Tucked away on a quiet street in Dupont Circle, Washington’s Keegan Theatre is easy to miss. Keegan produces classic and contemporary plays and musicals that, in the company’s own words, “put people out there on the stark edges of life”—works, in short, that “explore the human condition.” Keegan manages to offer tickets at affordable prices while creating productions on a par with any in the city. In spite of its low profile. Keegan has been producing quality work for decades, as well as touring work around Ireland and hosting Irish companies. And Keegan has not played it safe. The theatre has been making bold choices, producing dozens of world, American, and DC-area premieres. Keegan recently opened its twentieth season with a delightful production of a play that hits close to home in Washington these days, staging the regional premiere of Theresa Rebeck’s What We’re Up Against.
What We’re Up Against is the kind of zoomed-in, focused work that Keegan has always thrived on. It’s a show that proves that a theater does not have to lose its heart as it expands. The renovations have given them access to more space and resources without losing it’s audience-focused intimacy.
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