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  Outside Mullingar at Keegan Theatre

Outside Mullingar

Keegan Theatre
1742 Church Street, NW Washington

"I don't hate you," Rosemary says to Anthony. "I just don't like you." In the Tony-nominated Outside Mullingar by John Patrick Shanley (Doubt, Moonstruck), these two introverted neighbors have lived in rural Ireland and known each other for years, but their lives intersect sharply when a parent dies and property rights come into question. Ultimately a tenderhearted romantic comedy, Shanley's play proves that love, whether early or late, always shows up right on time. Come see why Charles Isherwood of The New York Times called Outside Mullingar "Shanley's finest work since Doubt," when it comes to the stage of Washington DC's Keegan Theatre.

Thru - May 28, 2017

Thursdays: 8:00pm
Fridays: 8:00pm
Saturdays: 8:00pm
Sundays: 3:00pm


Box Office: 703-892-0202

keegantheatre.com/portfolio-item/outside-mullingar/



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  Outside Mullingar Reviews
  • Highly Recommended
  • Recommended
  • Somewhat Recommended
  • Not Recommended

BroadwayWorld - Highly Recommended

"...John Patrick Shanley's Outside Mullingar may not be as significant of a play as his award-winning Doubt, but with the right cast it can certainly be just as moving, but in a different way. This proves to be the case at Keegan Theatre. Looking at its strong history of presenting works set in Ireland, it's of little surprise that the ambitious small theatre company succeeds with this one as well. However, I would even go as far to say that it's one of Keegan's best productions of "Irish" plays to date."
Read Full Review

Jennifer Perry


DCTheatreScene - Recommended

"...The dilemma which animates the first Act is whether Tony will leave the hardscrabble family farm to Anthony, or sell it to a nephew and leave Anthony the cash. This seems to be a low-stakes crisis Anthony hates farming more important to Rosemary (for reasons which will become apparent) than to the apparent beneficiary. It goes on too long (Keegan wisely ends the first Act after the third scene, and carries the fourth scene into the second Act), but the actors Adams and Rhea in particular never lose their investment in the argument, and so we continue to be engaged by the production even when we might not be by the text."
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Tim Treanor



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