The Cherry Orchard (2018)
“Kathryn Zoerb as Ermolai, former servant turned businessman who functions as the narrator is a hoot … The age-old battle between nostalgia, greed and survival is played beautifully by the fools with Zoerb at the helm, sometimes in Groucho Marx positioning… Behind the frame in abundant splendor are full cut outs of the beloved cherry trees with all the history they represent… All the while, the superb Kathryn Zoerb as Lopakhin makes menacing motions of cutting them down at every opportunity.” -DC Theatre Scene, Debbie Minter Jackson. May 21, 2018.
“From a commedia perspective, Zoerb nails her Brighella with a hyperphysical performance spurred by Chekhov’s script, and this production serves as her arrival moment among true commedia dell’arte practitioners.” -Shakespeareances, Eric Minton. May 29, 2018.
“This production is very well acted, especially the leads… Kathryn Zoerb is a smart, sympathetic Desdemona. She is so in love with Othello that she doesn’t recognize his anger… She’s still as sweet and reasonable as ever.” -WYPR, J. Wynn Rousuck. April 26, 2018. (Link to audio here)
“I've seen Kathryn Zoerb in several performances the past half-dozen years, and her astuteness has never been keener than it is with Desdemona. She plays her lines with no extra-textual or extra-contextual coating… One thing she certainly doesn't anticipate is to be murdered…We can see, but he cannot, Zoerb's face passing through expressions of guilt, worry, irritation, and back to confidence in her belief that their strong love will get them through this their first rough patch…When she discovers that Othello intends to kill her, she embraces the option of being forsaken: "Banish me, my lord, but kill me not!" Then she tries to buy time for truth: "Kill me tomorrow: let me live tonight!" "But half an hour!" "But while I say one prayer!" Out of time, she fights him, flailing, kicking, punching… Jennings no doubt comes away with a few bruises to show for Zoerb's performance.” -Shakespeareances, Eric Minton. April 27, 2018.
Foolish Fairytales (2017)
“The actors are superb – shout out to the cow (Zoerb), the true star of the show – and the script was a breath of fresh air from the constant conformity of traditional theater. “ -DC Metro Theatre Arts, Kendall Mostafavi. December 24, 2017.
The Incest Rep: 'Tis Pity She's a Whore & A King and no king (2017)
"Brimming with sensationalistic material — with plotlines that touch not only on incest, but also conspiracies, betrayals, disguises, political corruption and shocking violence — the plays are striking and suspenseful... Zoerb, DuBreuil and Rebecca Ellis (as the Iberian queen mother) make poised royals." -The Washington Post, Celia Wren. April 5, 2017.
"They are supported by a solid cast, especially Kathryn Zoerb as Annabella’s smart and snappy tutoress, Putana." -Maryland Theatre Guide, Norah Dick. April 3, 2017.
The Miser (2016)
"Furthering the cause of the youthful lovers is Cléante's wily servant La Flèche (a droll Zoerb). An extended pantomimic joke that has Harpagon searching the trousers of La Flèche, whom he suspects of theft, is typical of the show's cheerfully broad, largely movement-based humor." -The Washington Post, Celia Wren. June 7, 2016.
"Kathryn Zoerb demonstrates a command beyond her years in the physical manifestation of Valère with a consistent stance and meaningful gaze upon Elise." -DC Theatre Scene, Debbie Minter Jackson. June 8, 2016
"Zoerb displays astonishing skill, first, unmasked, posturing as the stoically brave young male lover... Then, she leaves the stage and returns seconds later, in that time donning a mask and changing her vest for overalls, moving in a shuffling hunch and using a completely different voice as La Flèche. Though she’s wearing the Zanni mask as the servant, it’s her bearing and diction that make her unrecognizable as the same actress playing both parts." -Shakespeareances, Eric Minton. June 12, 2016
THE WINTER'S TALE (2016)
"Zoerb comes back to play Perdita as a bright-eyed young lady, romantic to the core but stoutly standing up to Polixenes's violent threats toward her and then maintaining her pride as she dismisses Prince Florizel...She is her true mother's and adopted father's daughter." - Shakespeareances, Eric Minton. April 8, 2016
THE TAMING OF THE SHREW (2015)
"The energetic interplay between Kate (dazzlingly embodied by Kathryn Zoerb) and Petruchio (the rakish Ian Blackwell Rogers) was a joy to watch... The skill with which Zoerb showed Kate’s feelings and behavior evolve over the course of the show was both realistic and respectful." - DC Metro Theater Arts, Patricia Mitchell. November 9, 2015.
*Performance of Kate nominated by DC Metro Theater Arts Best of 2015 list of Best Actresses in a Play.
OUR TOWN (2015)
"The results are remarkable, though, in "Our Town" as Faction of Fools applies its trademark commedia dell'arte style and plays the show in masks...the masks give it a bit of distance while bringing the folksy drama even closer to Wilder's eternal truths...Wilson's cast is impressively balanced, and they aren't reinventing Wilder's famous characters...so much as tapping into their archetypal cores. The performance is fresh, fluid, and achingly heartfelt." -The Washington Post, Nelson Pressley. June 2, 2015.
FORTUNE'S CHILD (2015)
"Kathryn Zoerb does telling work as Sarah, who is caught at that critical juncture of neediness and independence." -Baltimore Sun, Tim Smith. January 13, 2015
"Kathryn Zoerb is pitch-perfect as Sarah, embodying the conflicts of a typical teenage girl on the verge of womanhood who is trying to find her own direction." -MD Theatre Guide, Lynne Menefee. January 13, 2015
A YOUNG LADY OF PROPERTY (2013)
"Kathryn Zoerb is a charmer as Wilma's best friend Arabella, willing to share in any adventure." -Baltimore Sun, Tim Smith. September 18, 2013
"Kathryn Zoerb makes her Rep Stage performance stealing debut as Wilma’s loyal and devoted friend Arabella Cookenboo. Arabella possesses a wholesome, girl next-door authenticity that reminds one of the best friend growing up you always imagined having. It’s the surrender of choreographed mannerisms and the often relied upon tricks in her honest characterization that makes the role of Arabella fascinating and Zoerb’s portrayal so enjoyable." - DC Metro Theater Arts, Sydney-Chanele Dawkins. September 17, 2014