Or, Reviews
Washington Post- Recommended
"...It feels right when Beatles music surges up and Twyford's Behn writes like mad, ushering in a new theatrical age. It's a delectable grace note in a highly verbal play, a piece that seems like a natural fit for this classics-saturated city. Or: Maybe it just feels natural because Posner's trio plays it with such controlled abandon and freedom and joy."
DC Theater Arts- Highly Recommended
"...With OR, I was engaged and enraptured by the company of three splendid area actors; Holly Twyford, Erin Weaver and Gregory Linington , guided by a director with sure hands for comedy, Aaron Posner. Let me add this aside; I found OR, to be a tasty and early appetizer as I await the 2018 return of the DC Women's Voices Theater Festival."
MetroWeekly- Recommended
"...Round House has stocked its stable with a trio of thoroughbred stage performers for a new production of Liz Duffy Adams' madcap comedy Or,. A ribald chronicle of one eventful night in the life of bisexual female Restoration Era poet and playwright Aphra Behn, the bawdy period farce is hauled at breakneck speed by Holly Twyford, Gregory Linington, and Erin Weaver, who summon a collective rhythm and effervescence that is beautiful to behold."
MD Theatre Guide- Recommended
"...The plays narrative, ever-unfolding, feels so seamless that its emotions can change without a moment's glance, for amidst the fun of the night, there is, too, tragedy. Brehn delivers a touching monologue in the beginning about the world afire she witnessed as a spy. The assassination attempt, too, always hangs over the head of all the fun times we are experiencing, so there is a sense of dread for the good times coming undone. Yet the play is so subversively anticlimactic - always keeping an optimistic side alive and delivering resolutions so wholly unpredictable that we're delighted we never considered them possible."
DCTheatreScene- Recommended
"...Admittedly, the overall plot of Or, is rather thin and the stakes not very high. Attempts to inject drama in the form of imposing writing deadlines and shadowy royal plots largely fall flat from lack of attention during the play's brisk 90-minute run time. But the production's stellar cast and steady rhythm of humor, pathos, mistaken identities, sumptuous costumes, and Benny Hill-esque chases provide such rich sustenance that the audience shouldn't care much at all."
BroadwayWorld- Recommended
"...Presenting it all in 90 minutes without an intermission seems intended in part to keep up the pace, but it's also a ploy to keep everyone in their seats without the possibility of considering their own "Or,""