“As the four main characters examine their lives, the audience joins them on a journey of self-discovery that takes a deep look at the impact of women on art and society, all the while showcasing their strength, independence, and true defiance. It was 90 minutes filled with laughter, awe, gasps, and sheer emotion.”

“…Arianna Rose’s The Dating Pool delves into the horror of re-entering the dating scene after a long hiatus. As age 61 confronts memories of ages 16, 23, 36, and 49, we’re immersed in a Churchill-esque tableau, and captivated by her myriad dating adventures…”

“The Dating Pool cleverly brings a 61-year-old woman face to face with her younger selves, uniting them symbolically at a particular point in time. This performance is driven by a carefully written script and well-practiced lines that create a deep connection for the audience with the different versions of the main character. The script weaves together a cohesive narrative, even as the actresses visibly embody distinct physical differences. The play mainly focuses on exploring past relationships and personal growth, seamlessly blending the experiences of women from various age groups, highlighting how life’s experiences are interconnected.

I was especially impressed by Rebecca Hunt’s portrayal of the 61-year-old version of herself, which exuded the vibrant essence of Donna from “Mamma Mia.” Despite the intimate size of the Baron’s Court stage, which at times felt a bit crowded due to the largest cast of the night, Hunt as the main character skillfully kept the audience engaged throughout the performance. I can’t help but imagine that with the addition of water projections and some creative staging, this show has the potential to captivate its audience even more.

Major feeling I had: connected, eager to see more.”

“The Dating Pool

Closing out the evening, Arianna Rose’s ‘The Dating Pool’ takes the award for the most inventive script as a 61 year old woman comes face to face with her younger selves at various stages in her life. As more of her previous selves show up and join the conversation it is not only the audience who learn more about this woman’s life but also them. This multidirectional passing of knowledge makes it a unique take on the life reflection story.

There are a number of other aspects of Rose’s play which make it stand out from others in its genre, particularly the enthralling examination of ignorance at each stage of life and the need to overcome it by experience. It’s an adept script which could benefit from an expanded format as the themes being explored are only touched upon.

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“[The Dating Pool] features a central character played by Rebecca Hunt, who together with their younger selves (Sophie Leach, Alicia Gould, Wren Perkins and Adriana Cartade) looks back on past relationships and their life thus far. Full of the knowledge of life, the group reflect on former experiences and learn from each other’s mistakes. Director Hannah Gooden has curated a really supportive atmosphere on stage between the characters, which makes this an uplifting closing act of the line-up.
Water-related sound effects and cool lighting hues add to the overall pool metaphor running through Arianna Rose’s writing… In conclusion I thoroughly enjoyed the play and found the reflective concept inspiring.
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“The Dating Pool, by Arianna Rose, directed by Sharon Garry asks an important question: Is hindsight really 20/20? What if you could give your younger self relationship advice? In this clever, surrealistic piece, an older woman dreams that she can do just that. Jodi Freeman Maloy is superb as the older woman (61) who meets her younger selves and attempts to give them advice: Miranda Montalvo (16); Anna McCabe (23); Monica Ross (36); and Sarah Pharaon (49). Each actress epitomizes the age she portrays, and the conversations among the four younger selves is often quite droll as they are shocked by what their older selves have done. Bradley Harrington and Elissa Strell provide support as Maloy’s character trips down memory lane.”

““The Dating Pool” has the largest cast of the evening’s offerings. Jodi Freeman Maloy is 61. She is soon visited by versions of her former self: Miranda Mentalvo at 16, Anna McCabe at 23, Monica Ross at 36 and Sarah Pharaon at 49. Bradley Carrington appears as the various men in her life and Elissa Strell is Sara, another presence in this memory play. This insightful play about what we remember and distort in our lives over the years was written by Arianna Rose and directed by Sharon Garry.”

“The best performance of the night by far was by Phyllis March in “The Dating Pool.” The scene opens up with Phyllis, 61, standing at a diving board in a dark pool. She’s visited by her 16-year-old self (Ava Andrejko), then herself at 23 (Samantha Fierro), 36 (Brittany Lacey) and 49 (Tamralyn Dorsa), where present day 61 is reminded of her lost loves of each of those lovers impacted her in that moment. The scene ends with her four former selves encouraging her to take the plunge. “The Dating Pool,” written by Arianna Rose is a thoughtful piece, and full of laughs, that can relate to any age in the audience. ”

“Playwright Arianna Rose’s short plays And The Beat Goes On and Family by Numbers were performed in the last two Theatre Three festivals. This year’s entry, The Dating Pool, is a well-crafted dramedy about a widow of a certain age. She is confronted by younger versions of herself as she contemplates taking the dangerous plunge back into the dating pool. This creative play has five great roles for women of different ages, and Phyllis March, Ava Andrejko, Samantha Fierro, Brittany Lacey, and Tamralynn Dorsa all gave award-worthy performances.”

“The winners, runners-up and third-place finalists were decided by a panel of distinguished judges: Fred Graver (four-time Emmy winner, former writer/producer for Late Night with David Letterman, Cheers, In Living Color, and The Jon Stewart Show), dramatist, teacher and author Jeffrey Sweet; award-winning librettist and writer Cheryl L. Davis (Law & Order SVU, As The World Turns); Army veteran and playwright David A. Tucker (ACT, Seattle Repertory Theater), and Broadway playwright Jeremy Kareken.

Meyer said, “The judges were very impressed with the level of competition. The playwrights who made it to the top ten demonstrated a true command of their craft. They provided the latest proof of substantial talent in the veteran community. I think these veteran playwrights have immense potential to move the needle in the theater and bring to life stories, voices, and subject matter that is rarely seen in American theater. The third-place finalist is military daughter Arianna Rose for Sex, Lies and Styrofoam.

The judges said, “We loved the two characters and their off-handed, everyday exchange in the middle of a laundromat.” Rose will receive $500 from VetRep.”

““Best Play: Arianna Rose’s “Family by Numbers.” This exploration of a family tragedy is originally told and heartbreaking. A man and a woman start as isolated units. They marry. Now one plus one equals two. The family grows to five — until one is subtracted. Five becomes four when their oldest son dies in a hiking accident. Rose faces the family’s pain honestly, and doesn’t paint a Pollyanna portrait. Before the son’s death, you see realistic squabbling and sibling rivalry. It makes the loss all the more painful — and the family’s ultimate reconciliation all the more true. Great performances all around with honest, stylized direction from Michele Strauss. Ren Pearson is a standout as the missing number. Featuring Ricky Bizarro, Julee Breehne, Scott Ehrenpreis, Tyler Gevas and Ren Pearson.” - Marty Fugate, YourObserver.com ”

““Family by Numbers by Arianna Rose begins with two members, Scott Ehrenpreis’ Father and Julee Breehne’s Mother, both loving toward each other and then their delightful Oldest Son, Ben Pearson. He acquires two brothers (Ricky Bizzaro’s Middle Son and Tyler Gevas’ Youngest Son), who add up to a Family of five though often minus mutual affection. Choreographing the movements of the Family is a major strength of Michele Strauss’ brisk direction. Oldest Son’s tragedy affects and changes everyone, but the Family keeps its Numbers in a creative way.” - Marie J. Kilker, totaltheatre.com”

“Family by Numbers by Arianna Rose is right before the show’s intermission, and is well placed, as you will need a moment to decompress after such an ardent and agonizing portrayal of a family devastated by loss. Steve Ayle, Linda May, Dylan Robert Poulos, Steven Uihlein, and Ryan Schaefer deliver a raw and realistic performance of a family blessed by numbers, yet also haunted by them. While there is conflict and dissent amongst some family members, and others just wish for peace, the true undercurrent of the show reveals itself, as the father (Ayle) muses, that “It’s the people who are really the treasures.” - Jessica Kennedy”

““Family by Numbers” by Arianna Rose is the heartbreaking story of a family that loses a son in a hiking accident. Beautifully written, it begins when the parents first meet, get married, raise three boys and then struggle with their tragic loss and one less number. Powerful performances all around by Steve Ayle, Linda May, Dylan Robert Poulos, Steven Uihlein and Ryan Schaefer.” - by Heidi Sutton, April 18, 2019”