Veronika
Duerr

“The cast attacks the material with tireless physical commitment. Veronika Duerr creates a subtly audacious Sloane and sets the tone with a nervous intensity so sticky she's still on your skin on the way home from the theatre.”

“Anchored by showcase performances from Veronika Duerr and Tess Malis Kincaid, the wild black comedy flies by at a brisk 90 minutes full of rat-a-tat banter, crazy dream sequences, well-meaning idealism and bloody, bloody violence…..Duerr’s characterization of Sloane is hilarious, often biting and sarcastic. It’s great to see her back on an Atlanta stage." 

“I hate men!” says Daisy (played by the irrepressible comedic wunderkind Veronika Duerr)”

“Duerr is a talented storyteller and an insightful comedienne.”

“The cast is stunning. As Henrietta Leavitt, Veronika Duerr is nothing short of brilliant in her ability to make deeply care for this woman who wants a chance to show the men in her profession what she's capable of, and to have us fully understand and see the passion she has for the work. The moments in the play where we see Henrietta making a discovery are infused with emotion and passion by Duerr in a portrayal composed of realism, nuance, and a multitude of layers. It's a glorious performance of a most fascinating woman.”

“Duerr is certainly an actress to watch. We’ve recently enjoyed her smart, funny, beleaguered Viola in “Twelfth Night” at Shakespeare Tavern, and she also directed a bitingly comic production of the contemporary satire “Anton in Show Business” this summer for her own new theater company, The Weird Sisters. (It’s not Duerr’s first time on this Marietta stage: several years ago, she received a Suzi Bass Award for her performance in Theatre in the Square’s “Tradin’ Paint.”) She continues to impress here, and it’s a great match of actress to role. Duerr is a talented storyteller and an insightful comedienne and, surprise.”

“This ATC production is led by Veronika Duerr, who gives Henrietta Leavitt a deep-seated curiosity and a warm humor. Her aha moment when she realizes the pulsating stars are telling us something is wonderfully giddy and gorgeous. It was impossible not to feel her excitement.”

“Nan’s vulnerability is tangible in Veronika Duerr’s performance, which wavers between traumatized and resolute, twin poles that one can only imagine many abused women must occupy. Duerr has the hardest job in “Exit,” occupying the dramatic locus of the play, and she is utterly believable in her fluctuations.”