Carrie Klewin

Variations Project - Variations on Desire
“Baltimore’s theater season dog days have officially begun, but Run of the Mill Theater didn’t get the message. Its latest production, Variations on Desire, ends the 2005 season with a bang.... It’s tempting to come out with a best and worst play, but it’d probably be missing the point. There are ups and downs, rough edges and smoothies, but Variations is a genuine collaborative effort that moves fast even when the edges are rough. The plays are short, melodic, and funny; that may explain why the evening begins with the Ramones’ “I Wanna Be Your Boyfriend.” The Baltimore Playwrights Festival could even take a few cues from this production. You don’t need a committee of judges to assemble talent in this city, just a good party in the middle of winter.”
~John Barry, Baltimore City PaperVariations.html
Variations Project - Variations on Fear
“A year ago, Run of the Mill received a Greater Baltimore Theatre Award for its 10-play evening Variations on Desire. It followed that up this year with Variations on Fear. Desire was good, Fear even better. This past year witnessed more polished, professional productions, but this 10-play evening--in which 10 local playwrights participated--was an inspiring, exuberant showcase of imaginative, idiosyncratic writing and acting. Theatrical collaborations are often iffy, but Fear struck the right notes: Run of the Mill gave everybody something to work with and then left them to their own devices. These plays were funny, scary, idiosyncratic, occasionally bleak, but never boring. The production had more the energy of a brainstorming sessions than that of a finished production--but Baltimore certainly could use more of those. Hopefully, it's a tradition that will continue.”
~Baltimore City Paper
The Pirates of Penzance 
(3/08 & 6/08)

“The Washington Savoyards have opened an entertaining production of Gilbert & Sullivan's masterly "Pirates of Penzance" at the company's new home in the Atlas Performing Arts Center...the pleasures of the production were many. The company rightly puts emphasis on its detailed ensemble work, and the sets and costumes were amusing and imaginative. ”
~Robert Battey, The Washington PostPirates.html
The Pirates of Penzance
“If you want a comfy and lively evening of well recognized wit, whimsy and pleasing voices, then take in the Washington Savoyard’s The Pirates of Penzance. Since its premiere on December 31, 1879, it has had who knows how many revivals at all levels of theater skills from high school wobblers to Linda Ronstadt in New York City. It  remains an outlandishly plotted picaresque musical evening when a core group of competent professionals are surrounded by a gaggle of new-comers who throw themselves into the topsy-turvy world of Gilbert and Sullivan. Director Carrie Klewin and Musical Director N. Thomas Pedersen have cast principals who have the chops to effortlessly reach some surprisingly high soprano notes and find some pretty brawny low bass-baritone notes as well … and all this with smiles on their faces and nary a missed lyric or off key adventure. With choreography by Pauline Grossman, the energetic cast is able to move about the stage with a minimum of the missteps that often can come from large cast productions...

High audience expectations are met with this production of Pirates. Years ago, the great New Yorker theater reviewer, Robert Benchley, wrote that he wished to be “allowed to enjoy” Pirates in his own way ....”  This production will allow audiences, either those die-hard followers of all things Gilbert and Sullivan or first timers, to enjoy it each in their own way. Director Klewin has a solid group of experienced featured actors who can sing and act at the same time. The large ensemble includes nine students from Catholic University who support the featured cast with solid skills and voices. And, in the large Atlas Theater space there are no microphones to be found on the actors but their voices by and large do project to the back of the House. In the various permutations of group settings and singing throughout the production, the harmony is pleasing. The men in the ensemble move about energetically, using some athletic leaps and bounds, while the demure and prim moves of the women are cheery and pleasurable to view. When the choreographed traffic of the chorus of over 20 moves around the Atlas stage, they do not seem to look about for their places -- they are a confident group.  ”

~David Siegel, Potomac StagesPirates.html
The Pirates of Penzance
“The Washington Savoyards get a positive "10" for their sparkling production of the "Pirates of Penzance" at the Atlas Theater.   Every musical number was a joy to watch with the wonderful comic interpretations by director Carrie Klewin who emphasized the  G & S nuttiness based on contradictions.  Like a farce, the musical hangs on a thin line of misinterpretation but this present ensemble are so totally convinced of the story line that the audience howls with laughter at their silly convictions... This production is so well done it deserves full houses for every performance.  It is highly recommended for 150 minutes of sheer joy...and a wonderful kid show with pirates being so popular nowadays.”
~Bob Anthony, All Arts Review For YouPirates.html

Born of a Fairytale (8/09)

“Do not miss Born of a Fairytale. It simply rocks with intensity, sheer enthusiasm, and creativity. This one woman show needs nothing more than a bare stage with stark white flats across the back, and simple blue lighting to tell her story in sign language, voice, dance and pantomime. The story seems to explode from her, and it is a delightful feat in effort and energy, and though she is working hard, she does not wear us out.”

                                                                        ~Marcia Kirtland, DC Theatre Scene

Pirates of Penzance 
(re-mount 10/10) 

“A good production of this operetta is pretty much guaranteed to leave you grinning most of the time, except when you’re actually laughing.  And the Savoyards have mounted an excellent production.  The staging is bold and fresh; the singing is fine; the costumes are outstanding, and the orchestra is flawless.  Mounted that way, Gilbert and Sullivan’s juggernaut rolls on through.”

“Gilbert and Sullivan shows are not like Burt Bacharach songs (which usually don’t work very well if you take them out of their original orchestrations); rather they admit and by tradition usually receive liberties in most productions – bringing political jokes up to date, incorporating inventive bits of stage business, and, in this production, doing a lot of Broadway-izing of the dance numbers.  The chorus of daughters, ever so winsome in their beautifully-realized Victorian frocks (a tip of the hat to Costume Designer Eleanor Dicks), suddenly engage in song-and-dance routines that might reasonably have the audience thinking of Oklahoma or even A Chorus Line.  The updating, presumably thanks to the team of Director Carrie Klewin, Restaging Director Guillaume Tournaire, and Choreographer Pauline S. Grossman, is just a delight.”  
                                                                                                       ~Jack L. B. Gohn, Broadway World

Press (Selected)

“I had the privilege of 
working with Carrie 
during the production 
of my solo show 
Mindblanking.  Her 
dedication, vision and 
overall directorial efforts were absolutely outstanding.  As a writer and performer with nearly twenty years of film and stage experience, I have never seen a director completely immerse him or herself in a project the way Carrie has done and the success of the show is as much a result of her work as it is mine.  She helped bring out the emotions behind my words in a way that was masterful.  She completely understood the story I wished to tell and the most effective means of telling that story.  Further, she understands the needs and fears of writer and actor and the subtle ways of helping the artist to create superior work.  I wholeheartedly recommend her to anyone seeking a brilliant director who expects you to work as hard as she will to make the project soar.” 
                                  ~Marc Unger, Author and Lead Performer of MindblankingMindblanking.html