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Anna DiGiovanni brings verve to Viola, pining for Orsino.
-Celia Wren / The Washington Post
Viola is kind and emotionally honest, at least with herself. Anna DiGiovanni captures these aspects of her character beautifully, adding little humorous touches, such as surprise and delight when Orsino touches her.
-Sophia Howes / DC Metro Theater Arts
Vanda, as played by Anna DiGiovanni, is a lot like the hurricane that blows her in. She is breathtaking, volatile, maddening and manipulative. Her ability to shift between roles—using voice and demeanor as though they were props—is uncanny.
- DC Metro Theatre Arts
No evaluation of this production would be complete without addressing the incredible Anna DiGiovanni, whose Phyllida commands both the stage and the other characters' actions. DiGiovanni's leading lady is bright, but practical, and manages to play along with polite society's expectations while impatiently knocking on the glass ceiling - or, as is more often the case, pocket doors. She comes off as competent and caring, and has little patience for Percy's displays of machismo. DiGiovanni also pulls double-duty as Phyllida's twin sister, the Countess Glamorgan, and the contrast between the two characters is a humorous display of her range.
One of the highlights of the theatre year for me was discovering Anna DiGiovanni at 4615 Theatre Company. Her performance in Venus in Fur was as if I was seeing David Ives’ familiar play for the first time. She was funny and commanding, seductive and frightening and held sway over Thomas (Scott Ward Abernethy) and the rest of us in the tiny rehearsal room. We were seated so close to the playing area that we could read every thought as it crossed her face. The moment: Thomas is reclining, totally trusting, on a settee, Vanda is behind him. Thomas, almost in reverie, utters one line and Vanda is silent. But if you were watching her at just the right moment, you saw her thought: “I’ve got him.”
– Lorraine Treanor / DC Theatre Scene
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