Adrienne NelsonALL THE WAY - ROBERT SCHENKKAN

Feature: Adrienne discusses preparation for her roles as Lurleen Wallace and Muriel Humphrey, Woman Around Town   Full interview 

Feature: Backstage look at the cast (featuring Adrienne) as they perform the show, Express   Full feature 

ONE IN THE CHAMBER - MARJA-LEWIS RYAN
Adrienne was both an actor and producer for this production


“The two standouts in the show are Noah Chiet as Adam, and Adrienne Nelson as the mom, Helen. Both are superb in their portrayal. Chiet's performance is small and nuanced, perfect for Adam. Chiet portrays a sense of emptiness and hurt that is truly remarkable. Nelson, who is also a producer, is a stalwart in the very capable cast. Helen is a difficult role who goes through a myriad of emotions in the 70-minute piece. Adam describes his mom as "ordinary, not normal". Nelson's performance of "ordinary" (and very much still grieving) is the highlight of the show.” - Keith Tittermary, Broadway World  Full review 

“The cast that Michael R. Piazza has assembled handles this grim material well. Tolar and Nelson are both especially strong, pivoting convincingly between forced make-nice smiles and flashes of pure rage.” - Chris Kilmek, Washington City Paper  Full review 

“Adrienne Nelson is the mother, desperately trying to defend herself and her family from emotional fallout and public judgment...One in the Chamber makes for a superbly dramatic whetstone.” - Brett Steven Abelman, DC Theatre Scene  Full review 

“It sometimes feels like an intrusion, but that is a credit to the incredible authenticity of its cast, and the general brilliance of its writing. ...Adrienne Nelson and Dwight Tolar have a subtle and heartbreaking performance as parents struggling with the realities of their family dynamic–Nelson as the alcoholic mother demented from grief, Tolar as the father numbing himself through work.” - Morgan Halvorsen, MD Theatre Guide  Full review 

“In Adrienne Nelson’s nuanced performance of Helen, we see the chilling character arc of a really good mom, a super-accomplished homemaker, utterly losing it over this loss” - John Stoltenberg, DC Metro Theater Arts  Full review 

Below are a few excerpts from One in the Chamber reviews audience members left on Goldstar*.  
You can click here to read all the reviews  (*Adrienne promises not all the reviews were left by her mother)

  • "Adrienne Nelson as the mother is fantastic. Her performance builds from a scattered, simmering emotional turbulence to an emotional breakdown that had several audience members in tears"
  • "Roller coaster of raw emoition... Adrienne Nelson, and Danielle Bourgeois particularly created achingly believable characters"
  • "A tremendous experience to see such great acting so close up"‚Äč

OCCUPIED TERRITORIES - NANCY BANNON AND MOLLYE MAXNER
***** Nominated for 6 Helen Hayes Awards in 2016! Adrienne along with the cast received a nomination for Best Ensemble. The production also received nominations for Best Play, Outstanding Choreography, Two Best Supporting Actors and Best Direction!!  Awards will be announced May 23, 2016!

Visceral and stunning...The 80-minute work takes place after the funeral of the father of Jude (Nancy Bannon, effectively brittle) and Helena (Adrienne Nelson, exuding warmth and kindness in her too-brief scenes)” 

"Combining storytelling, flashbacks and dance, Occupied Territories sears the hearts in it's exploration of the cost of war and how it scars not just soldiers but future generations- particularly the women who deal with the aftermath, trying to make sense out of the irrational"

Jayne Blanchard, DC Theater Scene (June 2015)  Full review

"The intimate, almost immersive nature of the staging drives home the play's central theme: Collins, his Army mates and even Jude are trapped inside the machinery and consequences of war. The 'occupied territories' of the title are measured not in square miles but in years and lives"  - Celia Wren, Washington Post (June 2015)

HOUSE OF CARDS (Season 3, Episode 3) 
**In addition to appearing in the episode Adrienne also served as a Russian dialect coach on set
"The dinner continues. We see a hilarious gaffe in progress as the Vice President (Donald Blythe) can’t understand a woman’s (Adrienne Nelson) Russian accent..." Alex Brannan, CineFiles  Full review

BETHESDA - JENNIE BERMAN ENG
“But the story is really about Joy (Adrienne Nelson) the family matriarch who will do anything to ignore her husband's misgivings and catapult him back to the top of the political ladder...Nelson, as Joy, serves as the production's true powerhouse, however, and not only because her character calls for such vivacity. Joy could easily be portrayed as a stereotypical nagging housewife, a manipulative Lady Macbeth to her less capable husband. For all of Joy's upper-class ambition, however, Nelson imparts a sense of insecurity and fragility. The script somewhat inhibits Joy's emotional trajectory, but Nelson's stunning emotional journey makes the production truly captivating.” - Maegan Clearwood, DC Theater Scene (July 2014)

“Joy (played by the engaging Adrienne Nelson)...Eng's biting script receives breathtaking verve from a family enduring their father's sins. Beyond satirizing suburban malaise, "Bethesda" finds humor in what a family must do to survive in this town.” - Winyan Soo Hoo, Washington Post

“She (Eng) also directs and produces this tight, hilarious look at a disintegrating DC family...Whalen and Nelson are two long-time DC actors now gracing the Fringe stage with their nuanced performances and pitch perfect depiction of the typical Washington almost-power couple.” - Jessica Vaughan, DC Metro Theater Arts (DCMTA awarded "Bethesda" 5 stars and named it Best of the Capital Fringe)

SWAMPOODLE - TOM SWIFT
This new production by Tom Swift takes audiences on a thrill-ride back to Swampoodle, where the razzle-dazzle of a former showbiz mecca collides with the raw spirit of the once-notorious shantytown.” - Theatre in DC

 “It feels illegal, like a fight club, or a rave…breathtaking moments”. - Washington City Paper

"Swampoodle at the Uline Arena/Washington Coliseum is one of the most extraordinary performances I have ever seen."
- Pink Line Project

“Scenes of evocative beauty that take advantage of the arena’s haunting decay”
- WeLoveDC.com

"If you’ve never felt goosebumps rise on your arms in 80 degree weather, you have a week left to seek out the experience…the powerfully haunting spectacle that is Swampoodle… the achievement here turns out to be big, bold, and memorable" - DC Theater Scene

Watch TV clip of Swampoodle featured in Irish news here >>
Watch more Swampoodle videos at The Peformance Corporation website >>


LIVING DEAD IN DENMARK - QUI NGUYEN
“...Adrienne Nelson gives a smart, self-effacing performance as a proud but conflicted Titania...” -
DCist


ANNA K - JACQUELINE LAWTON
“Adrienne Nelson is a welcome diversion when her wearied but wry Betsy, Anna's best friend, comes on the scene” - DCist

“Adrienne Nelson as liquored up confidante Betsy saves the day with her droll observations about life, urging Anna to seize a chance for love, all while holding a treasured glass of aperitif at all times. ” - DC Theatre Scene


SWIMMING IN THE SHALLOWS - ADAM BOCK
“...Nelson is particularly convincing as an earthy New Englander conflicted on the question of matrimony.” - Peter Marks, The Washington Post

"Adrienne Nelson bristles with smarts and sparks" - Washington Times

"...the characters portrayed by Ms. Young and Ms. Nelson provide the emotional center of the work" - DC Theatre Scene


KAFKA'S DICK - ALAN BENNETT
“[Adrienne Nelson's] overtly sexual and deceptively dimwitted performance is a perfect accompaniment to Mr. Henley’s sepulchral allure.” -
Jayne Blanchard, Washington Times

“The lady of the house is a buxom ex-nurse who spouts inane facts that her amateur-biographer husband passes along. Adrienne Nelson delivers these lines with cheerful confusion, although the character isn't quite as dim as she looks in Kimberly Dawn Morell's appropriately cliched sexy costumes -- a tight pink track suit and, later, a nurse's blouse and high heels." - Nelson Pressley, The Washington Post (A Washington Post pick)

“Adrienne Nelson…filling out a velour lounging outfit with the requisite pulchritude and playing the sexuality brightly…” - Brad Hathaway, Potomac Stages (Potomac Stages pick)

“Replete with puns, a scantily- clad- but- not- as- dim- as- she- appears nurse (Adrienne Nelson) a bit of time travel, and an afterlife pictured as a sort of intellectual vaudeville act, the evening is a smartly produced hoot... in performance it’s such a breeze that if laughter is what your’e after this holiday season, you’d be well-advised to forget the Dickens and go straight for the Dick.” - Bob Mondello, City Paper


EQUUS - PETER SHAFFER
"Particular praise must be given to ... Adrienne Nelson [who] manages the most elusive of theatre magic. The audience is allowed the luxury of forgetting that these are actors playing roles. - Metro Weekly

"... A sexuality [is] also steamily present in Dysart's scenes with his mistress, played with decency and compassion by Adrienne Nelson." - The Washington Times

"Washington Shakespeare Company in its crackerjack revival seizes on what's most vibrant in "Equus" and makes it an absorbing excursion into the nether regions of the turbulent soul... Gardner also elicits top drawer work from Nelson ..." - Peter Marks, The Washington Post (Equus was Editor's Pick)


THE GOD OF HELL - SAM SHEPARD
“...Adrienne Nelson subtly captures the spirit of a simple, contented wife whose life becomes completely disrupted. Nelson’s Emma is utterly believable; her values are simple, but she communicates a no-nonsense kind of warmth, backed by a firm integrity. Her pitch-perfect Midwestern accent doesn’t hurt either.” -
DCist Missy Frederick

“There are some pretty crafty performances in this show… Adrienne Nelson is a ticking time bomb…” - DC Theatre Review

“Providing a potent contrast to his frenzy is Nelson’s placid Emma, who putters about in a cozy red bathrobe and matching hairband speaking with a crooning Wisconsin accent- an appealing, if somewhat dimwitted, representative of the American heartland values under assault by Welch.” - The Washington Post

“Miss Nelson is the most restrained of the bunch, and her Wisconsin accent is subtle, laying on the bovine vowels only when needed for comedic effect. The character of Emma is the baffled conscience of the piece, and Miss Nelson deftly shows how a good, placid person can easily get caught up in circumstances beyond her control.” - The Washington Times

“Nelson, particularly, comes closest to creating a sense of what’s at stake for Shepard: Quiet and worried and more than a little uncertain about what’s right and what’s to be afraid of, she stands in nicely for the decent fold who get swept up in the at-any-cost frenzy only to discover they’ve let themselves be hustled too far, too fast.” - Trey Graham, The City Paper


SHKSPR PRJCT - a deconstructed Grotowski inspired Macbeth
“...The production is aided immensely by the full bore commitment of the actors. They throw themselves into their labours with all the brio of kindergartners finally let loose for recess after a string of rainy days… the ensemble meshes winningly…” - Peter Marks, The Washington Post


UPSHOT - AMI DAYAN
“Graham and Nelson are likable and energetic as the conflicted John and Helen, and Nelson also gives pizzazz to two subsidiary fantastical characters.” - The Washington Post

“Adrienne Nelson’s Helen is as stable as John is flighty- grounded, smart and self-confident, she is John’s polar opposite. The chemistry the performers share is a critical reason this production works.” - DC Theatre Reviews


BELGRADE TRILOGY - BILJANA SRBLJANOVIC
"Adrienne Nelson is both funny and scary as a mother suffering from severe post-natal depression. When she announces that she has put the baby to sleep you aren't sure if she sang it a lullaby or smothered it with a pillow.” - Curtain up

"New parents Sanja (Adrienne Nelson) and Milos (John Slone)... play their roles vividly, infusing the get-together with backbiting tension even during the small talk.“ - The Washington Post