The Keegan Theatre’s meteoric rise to critical acclaim is only one measure of its profound success. A steady stream of exciting reviews from every major Washington theatrical voice (Potomac Stages, Washington Theater Review, Washington Post, Washington City Paper, Arlington Sun Gazette, Washington Blade, Washingtonian magazine, radio, and television critics, Rich Massabny, WETA Around Town) is only one reason to admire the few, but exciting years of Keegan history. This evolving, intense theatre company is contributing to Washington’s cultural life through a myriad of creative and enriching programs.
Youth education and community outreach are important elements of the Keegan mission. The joy of performance, the camaraderie of teamwork, the discipline of theatre, and the thrill of achievement are all part of the production experience—encouraging self-esteem as well as providing the skills and resources necessary to succeed as adults. Keegan strives to be an active and contributing member of our community, through a range of outreach programs and activities.
Keegan's mentorship and internship programs have yielded great returns and personal development for many area youth.
Each year since 1996, The Keegan Theatre, in conjunction with Mount Olivet United Methodist Church mounts a full-scale production (Mount Olivet Players) with all ticket proceeds benefiting Habitat for Humanity, a national program to provide housing for the indigent. This effort has raised over $197,000, enabling students to build homes for the less fortunate.
Since 1996, Unitarian Universalist Church of Arlington's Chalice Theatre in collaboration with The Keegan Theatre has been the springboard for many youth (and adults) whose theatrical dreams would otherwise have just stayed locked deep in their hearts. Keegan provides support and expertise --beginning with the sure, sensitive, and inspirational directing approach of Keegan's Artistic Director, Mark A. Rhea , to the lending of props, professionals, risers, drapes, --practically everything technical that breathes life into UUCA's annual Broadway-style musical productions.
Shows produced have included: The Secret Garden, Anne of Green Gables, The Emperor's New Clothes, Fiddler on the Roof, Brigadoon, The Music Man, Wizard of Oz, Into the Woods, and The Sound of Music; the actors are age nine and up.
As work for each UUCA production begins, those who gingerly come forward for the first time to audition or volunteer for a behind-the-scenes crew task, gradually begin to change, feel more confident and connected. The cast and crew become an amazing intergenerational theatre family. And a portion of proceeds from Chalice Theatre ticket sales is sent to The Theatre Lab in Washington, DC in support of youth outreach and scholarship programs.
TRIO Transplant, a national non-profit dedicated to promoting organ donation, has received support from Keegan and The Keegan Theatre regularly donates tickets to nonprofit organizations for fundraiser auctions. These have included both public and private schools, scout groups, Irish dance schools, and the American Red Cross.
Along with Kennedy Center, Studio Theatre, Shakespeare Theatre, and other professional nonprofit Washington theatres, The Keegan Theatre proudly participates in Stages for All Ages, an annual event of The League of Washington Theatres, that enables youth to attend theatre by donating one free ticket to each student, 17 or younger, when she or he is accompanied by a paying adult.
Every year The Keegan Theatre presents at least one work by an Irish playwright to Washington, DC area audiences, and takes the work of an American playwright to tour in Ireland. Two Keegan Theatre productions by Brian Friel, one of Ireland’s leading playwrights, garnered prestigious Helen Hayes nominations (Washington’s “Tony Awards”). Translations was nominated for Best Director and Dancing at Lughnasa received a nomination for Best Supporting Actress.
Keegan’s Bridge to Ireland is a two-way street. In the summer of 1999, the theatre company established itself as an international troupe and became the first American company to perform on the west coast of Ireland. The acclaimed Keegan production of Tennessee Williams’ A Streetcar Named Desire played to packed houses. Summer 2000 proved to be an exciting continuation of the cultural exchange. The Keegan production of Sam Shepard’s Fool for Love played at Ireland’s famous Town Hall Theatre in Galway, which has hosted works by renowned companies, such as the Druid, the Gate, and the Abbey.
In Summer 2001, Keegan's program expanded to a three-week three-city tour of Tennessee Williams’ Cat on a Hot Tin Roof. The production was critically acclaimed in all three venues: Galway, Kilkenny, and Dublin. In 2002, the program expanded even further with a five-venue Ireland tour of Tennessee Williams’ The Glass Menagerie, that began at Town Hall Theatre in Galway and continued across Ireland with performances at Dublin's Civic Theatre in Tallaght, The Watergate Theatre in Kilkenny, An Grianán Theatre in Donegal, and Market Place Theatre in Armagh where the performance was sponsored by the American Consulate General.
In 2003, The Keegan Theatre toured Edward Albee's Who's Afraid of Virginia Woolf? to nine venues, seven in the Republic of Ireland and two in Northern Ireland, and in 2004 the company successfully toured Sam Shepard’s True West to nine venues.
But the bridge goes both ways -- in 2000, Keegan brought over and produced a one-man show from Ireland. The Derry Boat, which was written and directed by its star, Little John Nee. Nee was nominated for a 2000 Helen Hayes Award for Lead Actor in a Non-Resident Production. In 2002, Keegan hosted two young Irish actors, who came to the States to play the title roles in a new adapation of Romeo and Juliet, re-imagined in an Irish setting by company member and playwright Eric Lucas. The show garnered rave reviews and introduced many audience members to the Irish conflict in a new and compelling way.
In addition, Keegan has built a relationship with 'Project Children,' an organization promoting harmony between Catholic and Protestant Irish youth, and The Keegan Theatre participates in the annual Washington Irish Arts Festival.
As in the case of any growing theatre company, Keegan innovation and creativity are also focused on the cultural edge. Original works are, therefore, an integral element of its mission. In the 2000 season, Keegan produced three successful debuts: a world premiere for one of Washington’s most exciting new playwrights, an American premiere of an imported Irish work which played to consistent rave reviews, and an East Coast premiere of the recently unearthed Tennessee Williams’ gem, The Notebook of Trigorin, widely acclaimed by critics.
Season 2001 debuted The Shanachie Project, a new playwright festival premiering four full-length productions and ten staged readings from local, national, and international playwrights. In the summer of 2002, Keegan produced two new one-act plays by company member and acclaimed playwright Eric Lucas, Waiting for the Slow Dance and Precious Lam' ("A One-Two Knockout Punch for Keegan" exclaimed the Washington Post). And, in 2004, Keegan ambitiously mounted a summer repertory of TWO world premieres -- Tattoo Sky, by Lucas, and An Island of No Land at All, by award-winning playwright Peter Coy.
The Keegan Theatre -- a raw, dynamic, and growing theatre company -- has established itself as an important contributor to Washington’s cultural arts community.
