Megan Behm
KILL THE RIPPER (We Happy Few)
"...A pièce de résistance: For every insidious moment, it responds twofold with blood-pumping laughter...an edgy, nerdy, scandalous romp through Victorian London." -Melissa Lin Sturges, Washington City Paper
"[An] exceptionally entertaining dark comedy...a fiercely feminist fantasy...Under Megan Behm’s vibrantly bustling direction, a boundlessly broad acting style allows for brazen interaction among characters and hilarious drop-dead takes to the house." - John Stoltenberg, DC Theater Arts
ADA AND THE ENGINE (Avant Bard)
"Directed with grace and ingenuity by Megan Behm"--Celia Wren, The Washington Post
"The show radiates such a passion for mathematics, and a passion for its protagonist, that it is contagious, living on long after the show. It is a wonderful tribute to the ways we can see numbers if we look and think — and how we will see women in their history if we do the same." --Gwyneth Sholar, DCMTA
"This cast truly works together as an ensemble to make Ada's life come alive...Megan Behm's direction of this whimsical and excitable play transports audience members back in time, while also not forgetting the fact that this play was only published in 2018. This new/old play, set in the round, immediately immerses audiences in as it blends time and technology as well as movement and music. Behm plays thoroughly with the dynamics of this story, especially in its rhythm and pace." --Megan Lederman, Broadway World
A MISANTHROPE (Avant Bard)
**Helen Hayes Nomination: Best New Adaptation**
"Playful, even risque...[a] bright, brisk premiere."--Nelson Pressley, The Washington Post
"The audience didn't stop laughing all night. Between Matt Minnicino's rhyming couplet-filled, witty, knowing, sometimes bawdy adaptation of a Moliere classic and an acting ensemble with perfect comic timing, Avant Barrd's A Misanthrope succeeds on every level...The level of acting is consistently high throughout, with not a weak spot in sight. Megan Behm’s skills as a director are evident in maintaining the pace and tone of the production. She also deserves credit for two consistent features of the cast’s performances. The delivery of Minnicino’s rapid-fire couplets is frequently leavened with a brief pause before the final word in a pair of lines, allowing the actor and audience to relish the coming joke. The character’s facial reactions – worth the price of admission on their own – are exaggerated just enough to fit the broadly comic feel of the show without crossing the line into slapstick mugging...This is as funny a show as you will see this year – and see it you should."--Bob Ashby, DCMTA
"...a classic summer Romp on the Riviera, populated by some of the most deliciously stereotypical misfits ever...Director Megan Behm has embraced the world of old French farce, and crafted an exquisite satire that is as frenetic and slap-stick as it is wickedly witty. Minnicino's rhyming couplets constantly leave you gasping for breath with laughter, and every single member of the cast has honed their characters to their sharpest comic edge. There isn't a moment, a word, or a gesture wasted, and the way the actors literally throw themselves into their roles is a pure joy to watch...The verdict is in, folks, this is a hit, and one of the most outrageous evenings of fun you're going to have this or any June."--Andrew White, Broadway World
"This show is so hysterically funny it should come with a warning label: may cause unrestrained glee and weakness in the core from laughing so hard...Director Megan Behm keeps the show moving at a fast clip and the sight gags never overstay their welcome. Under her direction, the ingenious and mostly very witty rhyming couplets flow like a conversation between the characters; there is no disconnect between the modern setting and costumes and the language...Avant Bard has a winner with this one—it’s funny with a smoothly delivered bite; brilliantly acted; and magnificently, unapologetically willing to skewer everyone. Do yourself a favor and grab tickets to this."--Mary Ann Johnson, Maryland Theatre Guide
46 PLAYS FOR AMERICA'S FIRST LADIES (NextStop Theatre)
"NextStop Theatre’s 46 Plays for America’s First Ladies is herstory in the wildest sense, full of song, dance, and nonstop creative energy. It is a companion piece to 45 Plays for 45 Presidents, which had a successful run at NextStop in 2018. Director Megan Behm keeps the pace breathless during an astonishing variety of short one-acts. The female and nonbinary cast — Morganne Chu, Sydney Johnson, Brittany Martz, Nicole Ruthmarie, and Emily Sucher — are talented, enthusiastic, and ready for anything." - Sophia Howes, DCMTA
"46 Plays for America’s First Ladies is a long show, but it doesn’t feel like it—its component pieces breeze by with charm and vivacity. The creativity of each scene had me eager to find out what the next would look like, and the prospect of seeing the treatment of the First Ladies we know from our own era at the end of the show held attention. '46 Plays' is a delightful history lesson and admonition to, as the second play of the set tells us, 'remember the ladies.'" - Peter Orvetti, Maryland Theatre Guide
"Much like the United States and the many women who have served as First Lady, the play is complicated and full of contradictions. It is just as much of a comedy as it is a stark reminder of the unfortunate legacies of United States history. You may laugh, you may cry, you may be upset, and, hopefully, you may be forced to think. As complicated as their legacies may be, the First Ladies have voices that are being heard at NextStop Theatre Company." - Jake Bridges, Broadway World
PRIDE AND PREJUDICE (NextStop Theatre)
"Playwright Kate Hamill and director Megan Behm have taken the familiar elements of Jane Austen’s best-loved story and turned them up to eleven, also throwing in a few double entendres and a handful of contemporary touches...those who are in the mood for an upbeat, no-holds-barred romp through a classic will find exactly what they’re looking for."--Gina Dalfonzo, DCMTA
"...a comically charming (in all the right places) condensation of the book...Director Megan Behm certainly kept the actors crackling along at a rapid pace, and the uniformly solid cast brought out the nuances of the period style...Switching roles with quick changes and suggested costumes works beautifully in the highly paced, kinetic staging by director Behm...a lively and tightly constructed adaptation of a literary classic. The performances were uniformly strong and the entire cast was bonded within the effervescent world onstage, all sharing the sense of playfulness and imagination that firmly held the show together."--Jeffrey Walker, DC Theatre Scene
"The fast pace, contemporary touches and the doubling of characters keeps the show feeling interesting and doesn’t give the audience’s mind a chance to wander. It’s not “alien” in its classical nature, the script, and indeed this cast, wear the mantle of this show as comfortably as a cozy fall sweater. I now want to read every work that Kate Hamill has adapted based on her deft handling of this formally aloof (to me) classic work...Director Megan Behm creates a world that envelops you into 1800’s country party life from the first glimpse of the Pride and Prejudice set and the rambunctious game of blind man’s bluff."--He Said She Said
45 PLAYS FOR 45 PRESIDENTS (NextStop Theatre)
**Helen Hayes Award: Best Supporting Actress in a Play (Mary Myers)**
"While the play is structured as a comical insight, there are some very poignant moments...NextStop has given us a treat by casting 5 extraordinarily talented actors. The powerhouse women who embody these men are the perfect choice for not only their strengths on stage, but for the audience to remember that while no woman has been POTUS, there certainly is no reason why that won't be the case in the future. Director Megan Behm should be commended, not just for assembling these 5 female superheroes, but also for making the evening flow seamlessly between POTUSes. Using Sean Cox' brilliant projections and lighting design, Ms. Behm enhances the script by effectively drawing our attention to important facts and ensures that even the most well-read history buff will come out of the show learning something new."--Keith Tittermary, Broadway World
"The political pratfalls of our nation’s leaders are currently being put on humorous display at NextStop in their thoroughly engaging production of 45 Plays for 45 Presidents. Directed by Megan Behm and starring 5 fantastic women, it serves as both a hilarious and heartbreaking look at the men – and they have ALL been men – who have sat in the Oval Office...The five actresses who make up this production are a veritable cornucopia of talent. Able to change characters at a moment’s notice, they form one of the most satisfyingly cohesive ensembles in recent memory, with each performer getting a wealth of material with which to play...While humor is essential to 45 Plays, the play strikes a surprising balance with moments of intense human drama. It does not shy away from the unpleasant moments of our history. It reminds us that these people were human and made many mistakes and tried to do what was best for a nation under an incredible amount of pressure. While there are plenty of things about our presidents we can poke fun at, we must acknowledge the immense responsibility and hardship that these people shouldered."--Katie Bogdan, DCMTA
"It's not so much acting as really clear storytelling...the production is immensely likeable."--Tim Treanor, DC Theatre Scene
TO TELL MY STORY (The Welders):
**Helen Hayes Nomination: Best New Adaptation**
"An ingenious new play...In director Megan Behm's watchable production, the alienation of Elsie (an aptly intense Annie Ottati) and her sometime friend Ophelia (a suitably pensive Sarah Taurchini) makes for moments that are poignant as well as funny...the needy, loyal, flawed relationships between Elsie, Ophelia, and Horatio, and the emotion conveyed obliquely in the fan fiction, can be quite moving."--Celia Wren, The Washington Post
"A frenetic, funny, and relatable vision of Hamlet for the internet age...it's like your nerdiest friends decided to put on a caffeine-fueled, literary sketch comedy show...[the actors] snappy rapport and inch-perfect comic timing help Petri's script hum along, guided by the confident direction of Megan Behm...the whole experience is simultaneously funny, alarming, and mind-bending...a timely, must-see production. "- DC TheatreScene
"...a hilarious romp...Director Megan Behm artfully uses digital effects, from displayed computer chats to a live Facebook video, to draw the audience further into the online world its characters inhabit...a winning satire."-DCist
"A riotously perfect send-up of [Hamlet], as well as a poignant exploration of that peculiar and universal loneliness of adolescence...the stakes feel as real as they do because Ottati, Taurchini, and Mikala aren’t caricaturing and satirizing the teens they’re inhabiting, but instead endow these girls with intelligence, wit, confusion, and a desperate kind of hope...an extraordinary cast...Megan Behm has thought through this script carefully, guiding her actors across fraught waters and getting jaw-droppingly good performances out of everyone. Behm’s directing, coupled with Veronica J. Lancaster’s witty and necessary projection design (the online action is projected onto a screen that dominates the back of the stage in much the same way our virtual lives can dominate our free time) bring this world to life while also whispering some disappointments about the effect all of this has on the heartbroken and vulnerable."--DC Metro Theatre Arts
"Petri and director Megan Behm have somehow put together a Hamlet/Mean Girls/Wattpad mash-up that is both funny and moving, both outlandish and topical...everyone in the small cast is great...It’s rare to find a play – or any other piece of culture, to be honest – that’s as entertaining and thought-provoking as this one."--Brightest Young Things
Style Weekly article about CYMBELINE with the Virginia Shakespeare Festival:
"With 'Cymbeline,” director Megan Behm aims to play off of the popularity of such television series and movies as 'Game of Thrones,' 'Merlin' and 'The Huntsman: Winter’s War.'
'We are in a pop-culture era that is interested in fantasy,' Behm says, 'so I wanted to meld the old world fantasy mysticism of British legends with a newer, flashier, sexier spin.' With forbidden love, an evil stepmother and an appearance by the god Jupiter, 'Cymbeline' is an action-packed play that jumps among London, Wales and Rome. The play begins with King Cymbeline banishing his adopted son for marrying his daughter Imogen without his permission, launching a tale of love, innocence and jealousy. Once one of Shakespeare’s most popular plays, 'Cymbeline' fell out of favor in the 18th century. It’s staged infrequently, but seems to be experiencing a resurgence.
'People are circling back to ‘Cymbeline’ as an interesting and untapped Shakespeare play,' Behm says.
With exaggerated medieval costumes and large set pieces — including at least one 12-foot-tall hedge — 'Cymbeline' aims to stand out from your standard Shakespeare offering.
'My hope is that it’s magical,' Behm says, 'but it’s got a little rock ’n’ roll in it.'"
THE HEAD THAT WEARS THE CROWN (Ally Theatre Company):
"Director Megan Behm stages a fast-paced production with multiple scene changes performed by the cast. Behm makes great use of the intimate playing space, often staging scenes on top of each other...I left the performance unsettled by what I saw. The assault (which is not shown) can feel a little overwhelming and hangs over every scene. Good theatre is about evoking emotion, and that makes The Head That Wears the Crown great theatre." Read the full review here
"Beautifully rendered...The cast’s performances are immediately engaging and more subtle and nuanced than we usually get from dramas set in a high school. I was impressed with the chemistry between the four main friends. They struck a beautiful balance between showing why these girls love each other and how that love could curdle with immaturity. This is probably the most dazzling feat of the show: Anisa, Caro, and Bethanie are not scenery-chewing mean girls. You like these characters. You even love them a little more than maybe you should. The small side conversations and interactions between the characters are natural and warm, and it is a delight to watch these girls together. There is also a dynamic responsiveness between the script, the staging, and the technical aspects in the first act. The scene transitions enhanced the flow of the production...and the use of projections and well-placed sound effects served to effectively flesh out the spare black box environment." - DC Theatre Scene
SWITCH (The Welders) :
"...under the discerning direction of Megan Behm, the show's frisky cast mines Abelman's astute script for all it's worth...a lot of the play is laugh-out-loud funny...[it] shreds binary gender preconceptions and tosses them into the air like confetti."
"Abelman's script crackles with humor and DC-specific jokes, and Megan Behm's direction ensures that the cast takes advantage of Brian Gillick's simple set. Behm is given a challenge with the wide variety of settings and constant changing of perspectives inherent in the play, and she rises to it admirably...Switch pulls off the rare feat of being both a lighthearted romp and a thoughtful examination of what it's like to live in a restrictively binary world." - DC Theatre Scene
SAFE AS HOUSES (Pinky Swear Productions):
"The cast is small, and extraordinary, a true ensemble where each piece locks into the other. Director Megan Behm shows an assured understanding of these characters and their relationships with themselves and each other..."--DCMTA
"SAFE AS HOUSES boasts an excellent cast, a well-designed set, and a gripping concept." - Broadway World
THE CAMPSITE RULE (The Washington Rogues):
"Director Megan Behm blocks the play tastefully without condescending to the audience—The Campsite Rule isn’t shy about depicting sex, oral and otherwise, but it doesn’t get overly salacious, either. The action takes place on a sleek set with a zippy, contemporary soundtrack. Petri’s script has an empowering sensibility while never feeling preachy."--The Washingtonian
Read the rest of this review here: http://www.washingtonian.com/blogs/afterhours/theater-review/theater-review-the-campsite-rule-at-anacostia-playhouse.php
"[With] Honesty, comedy, and impressive talent, The Campsite Rule is a blast from start to finish. The hard relationships and realistic emotions of alumni looking back make the show relatable to a wide variety of audiences, and based on the strong reactions of the audience surrounding me last night, I think others would agree." Read the rest of this review here: http://dcmetrotheaterarts.com/2014/07/27/campsite-rule-washington-rogues/
"...skillfully and successfully executed." Read the rest of this review here: http://www.mdtheatreguide.com/2014/08/theatre-review-the-campsite-rule-presented-by-the-washington-rogues-at-the-anacostia-playhouse/
"A play which...shows remarkable self-assurance in the writing, the production and the performance." Read the rest of this review here: http://dctheatrescene.com/2014/07/29/campsite-rule/
"The Campsite Rule, a pleasant trifle of a comedy by Washington Post columnist Alexandra Petri, takes the somewhat less-than-contentious position that sex between consenting adults is fun, and that intelligent banter about it can be, too. In a brisk and lively production at the Anacostia Playhouse, courtesy of the youngish Washington Rogues theater company and director Megan Behm, Rachel Manteuffel’s 20-something Susan and Matthew Sparacino’s 18-year-old Lincoln meet cute at her college reunion, proceed directly to his freshman dorm, and arrange for the loss of both his virginity and a certain amount of their individual dignity." Read the rest of this review here: http://www.washingtoncitypaper.com/articles/46156/the-campsite-rule-reviewed/
EDWARD CULLEN RUINED MY MOTHER'S LOVE LIFE (Source Festival):
"It’s hard to pick a favorite, but, if I did, it might be Edward Cullen Ruined My Mother’s Love Life, by Stephanie Alison Walker. Edward Cullen, of course, is the immortal vampire in the Twilight series, and his love for Bella, which purports to be designed for eternity, sets an impossible template for Ramona (Carol McCaffrey) to demand of her considerably more earthbound lover (Christian Sullivan). Why a fifty-year-old woman gives herself over to such a silly fantasy, and why her preternaturally bright teenage daughter (Meredith Richard) somehow never gets around to taking her driving test, remain nagging mysteries behind the witty dialogue. At the end, Walker, the fine cast and director Megan Behm reveal the answer with exquisite subtlety; it will nonetheless hit you like a ton of bricks." Read the rest of this review here: http://dctheatrescene.com/2013/06/10/short-plays-at-source-fest-afterward/