jeffberryman.com

Nikki Visel as Igraine and Mathew Ahren as Emrys.
Taproot Theatre. Photo by Matthew Lawrence.

“…a play that rewards the close-listening it requires with a wealth of beautifully crafted and elegant language. The emotions are raw and unbridled, often starkly emphatic, but never simple or one-dimensional…a mature, complex, and engaging drama…THIS WAS A GREAT EVENING IN THE THEATRE.” — from Jerry Kraft’s (TheatreSeattle.com) review of
Arthur: The Begetting

“…suspenseful, romantic, and darkly medieval.” –from Richard Morin’s (Seattle Weekly) review of Arthur: The Begetting

“…stirring…rich in language…” –from Richard Wallace’s (Seattle Times) review of Arthur: The Begetting

“Arthur:The Begetting celebrates the power of belief in designs that are larger than we are, designs that power and re-power cultures, firing them up just when they’ve run out of steam — or the barbarians are at the gates. And that’s a good thing.” –from Kathleen Murphy’s (Queen Anne News) review of Arthur: The Begetting

“Local actor/playwright Jeff Berryman’s intriguing prequel to the myth of King Arthur tells the story of Arthur’s mother Igraine and the three men who compete for her love. It takes real moxie to toss an audience into 5th-century Britain with no more to guide them than the occasional narration of Emrys (Evan Whitfield), but Berryman’s strong narrative sense, muscular poetic language, and an impassioned cast(led by Berryman himself as the brutish Uther and Nikki Visel-Whitfield as the desirous and extremely crafty Igraine) made this one of the most polished offerings of the Festival, despite the bare-bones production values. A full remount would be welcome indeed.” –from John Longenbaugh (Seattle Weekly) review of Arthur: The Begetting

ARTHUR: THE HUNT

…a big piece of theatre about big people in a big story…Berryman’s language dares an almost Shakespearean grace and eloquence, and his characters all bear the weight of great historical forces, overpowering passions and desires, and lives lived “…on the edges. Lonely places”. — Jerry Kraft, Aisle Say

“Arthur: The Hunt” crackles with energy…evokes real grief and terrible knowledge: Emrys bends over the weeping Morgan, Arthur’s pregnant wife and half-sister. The two compose a pietà, sacrifices in the service of historic/mythic imperative. Here, at the end of the play, the awful cost of the hero’s journey is palpable. — Kathleen Murphy, Queen Anne News