Twelfth Night/Folder Theatre "Count Orsino (Alyssa Keegan) is imperious and rakish.. writhing onstage to the Cure — his love proves revelatory in the truest sense." -Washington Post
Twelfth Night/Folder Theatre "Keegan’s portrayal of Duke Orsino is particularly interesting because of the way the character’s gender is interpreted. Keegan uses they/them pronouns and portrays Orsino (who in most productions would be indisputably male) as a potentially nonbinary individual." -Washington Bound
Scenarios/ Studio Theater "Keegan as Patricia was superb. Watching their incessant cheeriness and refrains of “good job” play against Patricia’s utter powerlessness within the law enforcement industrial complex was stirring. Keegan demonstrated a remarkable ability to show how infuriating and rewarding change-making can be and that in the fraught world of policing, all efforts to get it right are honorable, even as efforts may fall short" -DC Theater Arts
Shipwreck/Woolly Mammoth Theatre Co.As "vocal guests in the farmhouse, Alyssa Wilmoth Keegan and Tom Story excel along with their castmates." -Washington Post
Gloria/Woolly Mammoth Theatre Co. "The title, though, derives from the play’s sorriest character, a longtime worker played to disturbing effect by the excellent Alyssa Wilmoth Keegan." -Washington Post
Gloria/Woolly Mammoth Theatre Co. "Keegan, arguably one of DC's best actresses, provides a master class in versatility portraying both Gloria and Nan. It's really an incredible transformation as she inhabits both characters exceptionally well." -Broadway World
Come From Away/Fords Theater "It’s as a unit that the dozen actors, with Ashley’s intelligent guidance, wring the most urgent emotionality out of the material... but if asked to single out a few notables, I’d mention...Alyssa Wilmoth Keegan, playing a stubbornly assertive animal caregiver." -Washington Post
Vanity Fair/Shakespeare Theatre Company, ACT "Alyssa Wilmoth Keegan (who also serves as dance captain for this production) brings a blazing energy to her many roles throughout the evening." -Broadway World
Vanity Fair/Shakespeare Theatre Company, ACT "Alyssa Wilmoth Keegan cuts a rakish figure as George" -Washington Post
Vanity Fair/Shakespeare Theatre Company, ACT "As the philandering and drunken George, the audience want to hate her, but she is infinitely sympathetic in her (not entirely financial) regret over falling out with her father." -Broadway World
The Return/Mosaic Theater "The performance by Kamal and Keegan — full of listening, compassion and pain, marked by deep unhealed wounds — is as compelling as it could be. That creates a sustained face-off that never loses its tension, and a show with no wasted motion. Your eyes dart back and forth between Keegan’s carefully probing woman and Kamal’s patient, wary man. Their chess match is finely charted." -Washington Post
How I Learned to Drive/Roundhouse Theatre "But what changed my mind about the play itself once it began was the precision with which Vogel’s script depicted each beat and breath in the progression of the uncle and niece’s relationship, and the meticulously specific performances of it by Alyssa Wilmoth Keegan as Li’L Bit and Peter O’Connor as Uncle Peck." DC Theater Arts
How I Learned to Drive/Roundhouse Theatre "Of course, it’s moving, too, and there may be any number of places where your heart leaps into your throat. Alyssa Wilmoth Keegan is Li’l Bit, a grown-up as she looks us in the eye and begins looking back, and compellingly young in the scenes where Li’l Bit is taught to be nervous about her body. As Li’l Bit tells her story, each scene is an instructional display as well as an experience that may be tough to revisit. Keegan keeps that in the foreground, and her measured approach is a key to the show’s cautious yet unflinching tone." -Washington Post
Botticelli in the Fire/Woolly Mammoth Theatre Co. "As a woman of overlooked intelligence, Alyssa Wilmoth Keegan has a nice edge as Clarice"- Washington Post
Botticelli in the Fire/Woolly Mammoth Theatre Co. "Keegan is excellent as the self-assured Clarice. Whether she is enjoying sex with Botticelli or appearing in a mock representation of Botticelli's most famous work, "The Birth of Venus," Keegan illustrates a persona rare in Renaissance Florence: a straightforward woman ready to express her extreme hatred for her husband."
Cat on a Hot tin Roof/Roundhouse Theatre "It’s startling at first to be confronted with Elizabeth Taylor’s coloring and styling in Keegan’s short raven hair and scarlet lipstick; is this a silhouette any sane actress really wants to evoke? The shadows of past “Cat” actresses are long, and maybe overpopulated with images of bombshells and sirens. This show doesn’t run on that kind of sultriness even though Keegan, trim and radiantly healthy, fiddles alluringly with her garters and makes Maggie’s desire plain. Her Maggie is sexy, yet she’s not a slinky, smoldering mantrap. She’s a terrific talker — a must, since the first act is practically all Maggie. Mentally, Keegan’s Maggie is quicker by miles than anyone in the room except Brick, and by the end her chemistry with Wooddell’s defiant, wry Brick has a nice clean click." -Washington Post
Fickly: A Fancy French Farce/Olney Theater Center "Alyssa Wilmoth Keegan is a delightfully brainy, focused Flaminia with a knee-knocking weakness for cheese" -Washington Post
Fickly: A Fancy French Farce/Olney Theater Center Alyssa Wilmoth Keegan has no small task with her role, as she is required to bridge the gap between the witty plotters and the crazy lovers. One moment she is calculating which plan to enact next to achieve their goals, and in the next she’s sharing jokes with the audience, or nervously attempting to sate her voracious appetite. Keegan dances on this wire through the whole play and does not miss a beat. She holds true to the character’s commedia stock origins, providing a driving force for the plot when necessary as well as giving the audience context where needed." -DC Theater Arts
Richard III/Folger Theatre "And it is at the precipice of death where the cast excels, most notably... Alyssa Wilmoth Keegan as unwitting Lady Anne, the princess Richard woos in the veritable nanoseconds after he slays her husband.
Bad Dog/Olney Theater Center
Bad Dog/Olney Theater Center Alyssa Wilmoth Keegan has fewer opportunities to lash out as the measured, almost stoic Abby, who takes up the mantel as Molly’s protector and as the voice of reason and calm. Keegan, however, aptly portrays Abby’s internal struggles through her ever-increasing lack of self-control and her connection with her wife. -Washingtonian
Becky Shaw/Roundhouse Theatre "Alyssa Wilmoth Keegan has delicately formed the character of Suzanna as an impetuous, disaffected princess type who is dogged in her search for love and attention." -DC Theater Arts
Digging Up Dessa/Kennedy Center for the Performing Arts "And Alyssa Wilmoth Keegan gives us a lovely portrayal of the mother who is trying to protect her daughter by hiding the truth. Keegan’s songs—ranging from the elegiac notes of “We Used To Be Three” to an ode to paper towels—are a lovely touch"- DC Theater Arts
Contractions/Studio Theatre "Macmillan also has two extremely adept actors on his hand... Emma, Wilmoth-Keegan, has to run the gamut of emotional states from her poised self-assurance at the beginning of the play to her inevitable transformation. She does a remarkable job, managing to appear as human as Twyford seems automated. " -Washington Post