PRESS
WASHINGTON POST
for 'Ah, Wilderness!' - American Century Theatre
'Ah, Wilderness!': O'Neill With a GrinBy Nelson Pressley
Published on Thursday, September 13, 2007
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"Bob Bartlett's production in Gunston Arts Center's smallish Theater II has a homespun quality that suits the play fine. As Richard's father, Kim-Scott Miller beams with joy, almost overdoing the kindly patience as he lavishes reassuring pats and pecks on the family. Rebecca Herron's reserve as Richard's mother seems right, and in the toughest role, Evan Crump dives headfirst into Richard's wild mood swings. Crump even unveils surprisingly effective comic instincts during Richard's confused moonlit rendezvous with his girl (Emily Webbe, pouting for all she's worth)."
DC THEATRE SCENE
for 'Ah, Wilderness!' - American Century Theatre
By Debbie Minter JacksonRead Entire Article »
"Miller has a resolute yet playful air to his delivery and nails the character at every turn. In like manner, Rebecca Herron is so totally immersed in the character as the mother, Essie Miller, that every utterance and mannerism comes across as strikingly genuine and real. She bustles about tending to the household, overlooking the antics of the maid, fretting over her son’s whereabouts with the commitment of a mother in charge."
POTOMAC STAGES
for 'Ah, Wilderness!' - American Century Theatre
by Brad HathawayRead Entire Article »
"Kim Scott Miller does his best work thus far in this, his sixth show for the American Century Theater, as the warmly affectionate, humanly befuddled head of the household in "a large small-town in Connecticut" in 1906. He's fascinating to watch all evening long both in those moments when the focus is on his character and in those scenes where he helps focus the attention on others. Those others are doing fine work as well. They include the likes of Rebecca Herron as his wife, Evan Crump as their son, Tina Renay Fulp as the spinster aunt and John Collins as the uncle she loves, Kari Ginsburg as the son's love interest and Carolyn Myers and Joe Baker as those who would lead the young man astray. Together, they create an affectionate portrait of Americana that reflects the longing of the nation for an anchoring self image at the time the play was written - 1933 in the depths of the worst depression the nation had ever known."
SHOWBIZ RADIO
for 'Ah, Wilderness!' - American Century Theatre
Read Entire Transcription »"Essie Miller the mother was played by Rebecca Herron. She was funny. She had some of the best facial expressions. The eyes rolling and looking over her shoulder at her husband over something he had said that she didn’t agree with. She was, I wouldn’t want to say high strung, but she was a little more uptight. The scene in the second act when her son didn’t come home when he was supposed to, she was very nervous and wanted to take the car and go look for him. This is where her husband Nat stepped in and said he would go look for him. She was just really funny, very lively."
METRO WEEKLY
for 'The Spitfire Grill' - Theater
Alliance
Sunny Side
Up
Based on the
1996 film, 'The Spitfire Grill' is an enjoyable evening of
casual melodies and scrupulous storytelling
by Jolene Munch
Published on 03/17/2005
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"Brotons is the perfect centerpiece in the lead role, and she is joined by Rebecca Herron as postmistress Effie, the nosy 'town crier' whose self-righteous attitude is evident in Herron’s stiff overhead braid and haughty pout, and J. McAndrew Breen as the lonely parole officer longing to leave his quiet hometown. Rob McQuay’s booming baritone fills the stage with a well-rounded heft, while the reliably sturdy vocals of Judy Simmons command the muscular role originated on screen by Ellen Burstyn. Simmons is vital to The Spitfire Grill in the same way Burstyn was vital to the film, driving her role with willful force. Michnewicz must have realized that without a strong Hannah, the Grill might as well have closed down some time ago."
for 'Bad Girls III: The Redemption!' - Venus Theatre
Ladies Night
Venus Theatre celebrates the trials and triumphs of women
by Jolene Munch
Published on 08/26/2004
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"Mrs. Chicky opens the evening on a high note. Rebecca Herron is a delightful 'Mrs. Chique' alongside Louise Andrews as the stuffy,
anti-suffragette Mrs. Holbrook. Shirley Serotsky directs the duo with
swift pacing and a light sense of comedy. Cherisse Montgomery writes
about the daily survival of a victim of breast cancer in her somber
Lillian Goes to the Mirror. Although Elizabeth Simmons seems too young
for the mature warrior, Montgomery’s script stands on its own with
powerful dialogue and a lingering message of hope. Between set changes,
the cast dispenses crucial information on how to detect abnormalities
or changes in the breasts. Their instructions and self-examinations
may induce giggles from future audiences, but the solemn realities
of this leading cause of death in women are certainly no laughing
matter."
Washington City Paper
Bad Girls III: The Redemption!
(Published for week: Aug. 27-Sept. 2, 2004)
When the show's called Bad Girls III: The Redemption, and Donna
Summer is singing "Bad Girls" on the PA, you expect some righteous
distaff misbehavior. What Venus Theatre delivers, instead, is an evening
of vignettes that stick mostly to pretty territory: body image, bad
breakups, breast cancer, and bad mothers. Evelyn Glover's "A Chat
With Mrs. Chicky," set in early-20th-century Britain, is the strongest
piece of the night: Middle-class Mrs. Holbrook is trying to recruit
her brother's scullery maid, Mrs. Chicky, to sign a petition demanding
an end to the consideration of women's suffrage. The satisfaction
of this debate is lost, however, when the cast speaks directly to
the audience about the importance of registering to vote, and it won't
be the last time the evening will be thus interrupted. In "Just Sex
(Jazz Hands)," playwright Linda Suzuki puts a nice comic spin on a
familiar situation: Six months have passed since two women ended their
relationship when one of them calls up to suggest they get together
just for sex. "Love Is Murder" by Jae Kramison and "Too Much Latin"
by J. Montague together constitute the bad-mother portion of the evening.
Company artistic director Deb Randall wraps up the evening with a
powerful image. Saying too much about the sketch "Injur-Ex" would
spoil the fun, but suffice it to say those who don't respect the vagina
may have a change of heart.
Washington Post
for 'Girlfriends' - Sandy Spring Theatre Group
A
Successful U.S. 'Girlfriends'
By Michael Toscano, Special to the Washington Post
Thursday, May 15, 2003
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"Coloratura Reeves and mezzo-soprano Ingalls have beautiful voices
and carefully calibrated acting combining fire and ice. They join Davis,
his sweet tenor soaring, in the haunting ballad "My Heart Lies Somewhere
Else." Davis and Ingalls spill hot emotion and anger as they break apart
in "Remember." Davis matures his character, passing from callow lad
with an old man's demeanor, in that way of the well-bred British, to
a battle-hardened, clear-eyed man. Another strong performance is turned
in by Rebecca A. Herron, as the fun-loving Glasgow lassie Jasmine,
who undergoes significant change with war's heavy toll. She also gets
through some of the more awkward lyrics, including "I'm losing weight,
I'm two weeks late, it's half-past eight," in the tribute to wartime
hardship, 'This Bloomin' Cap'."