Press for Strand Theater’s “Blood Countess”

“Katharine Vary, a familiar favorite of Baltimore stages, returns to Strand in the title role. Her character’s transformation from pre-teen to north of 50 is laudable for the fact that she doesn’t bother much with playing age, focusing instead on Elizabeth’s emotional and moral journey. She navigates all of this with gorgeous subtlety and texture, in situations where it might be tempting to head straight over the top instead. Vary is also excellent in handling considerable physical demands. Apart from the swordplay and intimacy mentioned earlier, Vary is called upon to simulate several epileptic seizures during the play. The work must be incredibly taxing, yet Vary doesn’t miss a beat.” MD Theater Guide

Press for Strand Theater’s “Little Women”

“Vary gives the painfully reserved Beth tremendous backbone when it matters most.” MD Theater Guide

“I can confidently say this is one of the tightest and dedicated casts I have come across this season and each pulls his or her own weight making for a charming production, as a whole. … Vary shines as the fragile Beth … All together, they form a formidable troupe that makes one stand up and take notice.” Backstage Baltimore

Press for Strand Theater’s “Bright Half Life”

“The cast of Ayesis Clay and Katharine Vary are 100% bought-in. They both do amazing work of presenting heightened emotion during crucial periods in their characters’ relationship. More astonishingly, Clay and Vary repeatedly turn on a dime, from one emotional extreme to its opposite and back again, and it is only because of this amazing skill by the actors that Korol-Evans’ strategy succeeds – and brilliantly so.” MD Theatre Guide

” … I found myself amazed watching as Clay and Vary worked their way intrepidly through those changes. Blackout followed blackout, and after each one, the characters might be in a totally different time and place in their relationship from the one previously explored. And Clay and Vary were unfailingly right there. Highlights for me included Erica’s hilarious panic in a stopped Ferris wheel gondola (Vary’s delivery is priceless, and, fortunately for the audience, this scene is repeatedly returned to) … ” Broadway World

Press for Cohesion Theatre Company’s “Sally McCoy” 

“She becomes the voice of all the mothers and wives and sisters who were caught up in the dreadful cycle, but, given the times, were probably paid little heed by the men with vengeance on their minds. … The production features a firmly focused performance by Katharine Vary in the title role. … “Sally McCoy” succeeds at evoking an unfortunate time and place where stubbornness and myopia kept lives stuck on a path that was all too “rough and steep” (in the words of that hymn) — and where, had anyone been willing to listen, a woman might have led the way toward “beauteous fields.”” The Baltimore Sun

“Katharine Vary delivers a superb performance as McCoy matriarch, Sally. … Embodying Sally, Vary wears a bold face during her interactions in this house of men, but her subtle body language belies her fear. … An emotionally-charged portrayal of a woman attempting to assert agency in a culture that grants her none, Vary’s performance showcases her considerable acting skills.” DC Metro Theatre Arts

“As Sally McCoy, Katharine Vary defines the character for future performers. Her McCoy is the quintessential mountain woman and mother, strong, shrewd, proud, and fiercely protective of her children at the risk of her own life.” TheatreBloom

Press for The Strand Theater Company’s Staged Reading of “Sally McCoy”

“I don’t think, though, this show could be separated from its living heart, and that is Katharine Vary.  She’s absolutely electric. … THE BOTTOM LINE:  Okay, someone needs to pick up Sally McCoy for their season IMMEDIATELY and they need to ensure that Katharine Vary is available for it RIGHT NOW.” The Bad Oracle

“Katharine Vary, as Sally McCoy, gave the best performance I have seen from her – and that’s saying something.” DC Metro Theater Arts

Press for Baltimore Annex Theater’s “The Tempest”

“Katharine Vary takes a unique look at Miranda, blending naivete with bloody knives in a way that makes you think about the fact that this little Lady has been catching her own food for quite some time.  Her movement is fascinating … And she’s funny, too, especially as she spies some sweet specimens of manhood.”  The Bad Oracle

“Vary’s acting is always good; this performance is no exception. She portrays Miranda’s innocent naivety and the rugged wildness she learned from island life with equal acumen.” DC Metro Theatre Arts

Press for The Baltimore Shakespeare Factory’s “Julius Caesar”

“Katharine Vary is most effective in her role as Portia, Brutus’ wife.  She’s strong, and swings kind of Amazonian warrior queen with it, defiantly slashing up her thighs as the consummate soldier’s wife.” The Bad Oracle

“Katharine Vary steals your heart as Portia, and makes you want it back as Octavian.  Vary’s voice is one of the most potent and graceful I’ve heard and it was wonderful for the audience to see and hear that voice again during the interlude singing.” TheatreBloom

Press for Spotlighters Theatre’s “Les Liaisons Dangereuses”

“Katharine Vary puts what is becoming her patented spin on famous female characters … Vary brings a textured backstory to her performance with intriguing hints of possible mental illness: her Tourvel is, at times, like a manic bird beating fiercely against a glass ceiling.   She’s hysterical, yes, but, then again, she’s been pushed and pushed and pushed and when that control is final loosened, it can’t be put back again.” The Bad Oracle

“Katharine Vary as La Presidente de Tourvel is excellent, with the ability to rev up her outrage like a pro.” DC Metro Theatre Arts

Reviews and Mentions of Cohesion Theatre Company’s “Hamlet”

“As Hamlet’s mother Gertrude, Katharine Vary effectively captures the nervousness bubbling beneath the dignified veneer, suggesting a proud CEO who knows the stock is about to be severely devalued. Vary shines in the big confrontation scene with an accusing Hamlet and the high-body-count finale.” The Baltimore Sun

“Katharine Vary makes incredibly strong choices for Gertrude, thank God. … Vary’s classical training is appreciated here and her performance beautifully real and thoughtful as fuck.” The Bad Oracle

And some exciting national press for Hamlet: USA Today, “400 years after Shakespeare’s death, a diverse world is his stage”