For IN Series Artistic Director Timothy Nelson, opening the new season with Alessandro Stradella’s St. John the Baptist next month isn’t just an artistic decision; it’s a long-held passion. With a bold new English libretto, a 1970s setting, and its first-ever full staging, Stradella’s explosive oratorio comes alive as a work of staggering musical invention and psychological complexity. The story retells the biblical account of John the Baptist’s final days as he’s caught in a dangerous triangle with the lustful Herod and the manipulative Salome, whose shocking demand for John’s head leads to a climactic act of violence. I had the pleasure of speaking with Nelson to hear his thoughts on why this rarely performed baroque masterpiece is the perfect piece for right now and how its themes of identity, repression, and forbidden desire hit harder than ever. (This interview has been edited for length and clarity.)

What drew you to Alessandro Stradella’s St. John the Baptist as the IN Series season opener, and why now?

It’s a piece I’ve been wanting to do for almost 20 years. It’s a little-known piece, but there was a recording that was put out in the late eighties. The music is just astonishing — you can’t even believe that this music was written at all. And the storytelling is so novel, especially for the 17th century. The story of Salome, even though it’s really familiar, is not set very often, and it has an inherent drama and psychological complexity and sexual terror. We don’t think of baroque opera or Baroque theater as something that is so fraught and has so much inherent drama. So, between the music and the chance to do this really vivid story, I’ve always wanted to do the piece. Then, in doing a season of all premieres, I thought, how cool to open with actually the premiere of something that was written over 300 years ago?

You’ve said that Stradella’s version asks something “different” of us than Strauss’s Salome. What exactly is that difference, and how does your staging bring it out?

When we think of Oscar Wilde’s version, the thing we most think about is how shocking it was. The theater play was banned in Britain for 30 years after it was written. There were riots in Chicago when they tried to do the American premiere of it. It’s a piece that is shocking and salacious, even from the time it’s written. But this version, in a way that’s very similar, is equally as shocking musically and dramatically. It’s totally unique, and that’s not surprising coming from Stradella, because his life was shocking. He was shocking. The music he created, the art he created, and also his personal life. So in that way, it’s similar to the Strauss Oscar Wilde version, but that version focuses on Salome as the main character and as a character who has incredible psychological complexity and depth and changes over the course of the opera. Stradella’s version of Salome is important and gets amazing, fearsome, terrifying music — especially for the soprano having to sing it. It’s really about Herod, and Stradella hints at this past relationship between Herod and John. And Herod is sort of forced into killing this person that he clearly has a great affection for. So, in that way, it’s very different from the Oscar Wilde. It’s equally as crazed, equally as subversive, but it changes the focus.

Stradella’s opera was originally written as a concert work. What challenges or opportunities did that present when fully staging it for the first time?

It doesn’t present challenges in the way people would think because we think of oratorio as a concert form that is something more respectable and more spiritual and more tame than opera. But in fact, oratorio was invented in Rome because opera and theater were banned by the church in Rome. But it didn’t mean that the people who had power and money didn’t want to see opera or to see theater. It’s just they weren’t allowed to. So the only way they could experience drama or musical drama was to invent oratorio. But the pieces are no less dramatic. They’re no less sometimes scandalous. They chose stories from the Bible, but they chose very scandalous stories from the Bible. And so as a piece of music theater, it is equal in drama to the early operas that were being rented in Venice at the same time — maybe even more dramatic. Actually, I would find it hard as a conductor to make a concert piece out of it because you can’t believe it’s not meant to be staged. It is fast-paced, the characters are etched with remarkable psychological depth, and it’s very plot-driven. As a stage piece it’s very natural. There are some oratorios that would be more complicated and that maybe don’t have the same sort of dramatic momentum that this piece has. But this piece was very well suited to become a stage work. It’s hard to believe that no one had done it earlier, actually.

This production incorporates a new English text by Bari Biern. How did you collaborate with her on shaping the narrative and tone?

Bari is someone who’s had a relationship with our organization for many years, long before I came in 2018. But I think Bari had been writing translations for us, sometimes performing with us, and she used to write for Capital Steps, and won a Helen Hayes. During my tenure, she did our translation of Rigoletto last year. Bari is a brilliant rhymer and a brilliant comedian. This piece is not a comedy, but it has certain elements of absurdity and of grotesqueness, and I thought Bari would be really well suited. I wanted to give Bari a chance to do something that wasn’t silly and that was kind of dark and sometimes funny, but ultimately quite a tragedy.

However, rhyming was really important to the original piece, and by doing it in English, we needed someone who was really good at clever and smart rhyming. We’ve chosen to set this particular production in the 1970s because we’ve delved into this relationship between Herod and John. I wanted to find a place where a relationship between two men was at odds with the social norms — of heteronormative American suburbia of the 1970s. Putting it in the seventies gives an opportunity to the English translator to have fun with language, since the seventies were a time when the American language was really rich with unique words that we don’t use now. I thought Bari would have a good time digging into how language could fit with music, but particularly language from that period.

As both director and music director, how do you balance the visual storytelling with Stradella’s richly expressive score?

Obviously, the practice in opera is to have a separate conductor and director, which is very different from the way we think of theater. Even in music theater, there’s ultimately one person in charge in the room, the stage director. And there’s a hierarchy of the stage director and the music director. But in opera, they’re equal in the rehearsal room. So, trying to find someone who can do both is logistically a challenge. But I think it’s a much better way to make a piece of musical theater opera because there shouldn’t be a division between music and text and music and drama. The two are telling the same story, and they’re telling it together as one unified thing.

If you have one person or one creative mind that is shaping the music, the embodiment of that music in a way that is telling a unified dramatic story, to me, is a better way to get to a cohesive whole. It’s not possible when you get into romantic opera, where the orchestra parts are so complex and the size is so big and you have a chorus, but this is five singers and a baroque orchestra. It’s the sort of space where we can do this really unique experiment, and what it means to have just one artistic vision for the project.

Stradella’s music was admired by the likes of Handel and yet remains relatively obscure today. What do you think contemporary audiences will find most surprising about his music?

Handel, Bach…brilliant. Bach, especially, beyond words. Monteverdi, who is about a hundred years earlier than those guys, even a little more equally brilliant. People think of Stradella as a kind of a bridge between those poles — between Monteverdi and early opera and Handel. That’s really unfair to Stradella, who wasn’t just a byway between the two. Stradella was writing music that was wholly original, wholly his own, and super complex. His dissonances, his use of rhythms and syncopations, the way he etches character. One example: Salome, when she’s trying to cajole Herod and convince him to cut off John’s head. This young 13-year-old girl saying I want you to cut off the head of this man is a really gruesome idea. She does it in a way that is vocally pyrotechnic almost like Whitney Houston. It goes from the bottom to the top of the range, very fast, rageful, and crazy. That sets up an aria that is totally still and eerie and placid. So Stradella is the master of surprise — the master of doing the thing you’re not supposed to do. He was an outlaw and it comes out in the music.

Were there particular scenes or musical moments in St. John the Baptist that felt like breakthrough moments for you as a director?

The scene of Salome going between emotional poles to try and win her argument — and this argument is actually part of a larger scene in the second act — is all her trying to convince him to give her the head. And it’s a masterpiece of a character, psychology and music, and the shifting psychologies of people. The piece is famous also for its final duet because Salome is singing a very happy, joyful line, and her text is all about how she’s filled with elation and she doesn’t know why. And underneath, Herod is singing different music that is about how he senses impending doom. He’s so frightened and he doesn’t know why. And it ends suddenly just in the middle of the line and we know it’s the end because Stradella writes that’s the end of the oratorio. We assume that’s the moment the head gets cut off. That’s another moment that is really interesting to figure out how to embody as a director. The piece is full of those sorts of innovative moments.

You’ve led IN Series through productions that combine opera with other forms — from immersive theater to contemporary dance. What role does cross-disciplinary collaboration play in your creative process?

I love bringing together diverse artists, and by diverse I mean artists that are coming from different cultural expressive histories and working in different forms — forms that we would never think go together. Then we all get in a room and find a way to weave something that, again, makes the whole so much more than just the sum of the parts. So, for me, it’s very central in my practice, and it’s not just because I like working with people and collaboration is fun, but it’s really about a view of globalization, doing something positive for the world rather than what globalization actually costs the world. So bringing these voices together — which of course jazz is speaking to classical music and speaking to a whole economic and political history that was going on from the 19th and the 20th century — and having the arts openly having that conversation by putting those different things together and in dialogue with each other is really interesting and fun for me as an artist.

What has this production taught you about Stradella, about opera, or even about yourself?

In a way, it’s a homecoming. I wanted to do this piece for years, and as a harpsichordist and a baroque scholar of music, in a way, it’s my music. But I’ve never done Stradella before, and tend to do pieces that are optimistic and about joy. Even if that joy is found through grief and spiritual transformation. This is a piece that is gothic, gory, and dark, and there is some transcendent music in it. There is a beautiful message, especially in this production, about being true to the way God made you and not letting social pressure make you deny who you are. But ultimately, the story is very dark and almost so dark that it becomes satirical. That’s not the sort of work I do, so it’s fun to dip my toe in that space.

How has your time in DC influenced the kind of work you want to create?

I was overseas for about 15 years, and in opera, especially in classical music, we’re taught that Europe is the continent where we’re supposed to want to go and do work. That’s where there’s so much funding and where the productions are new and big in opera. And I was very early on in my time in Europe dissatisfied with being so far from the country that matters to me. Quite honestly, it was Trump’s first election that made me want to come back because I just felt it was wrong to be in the cheap seats. I wanted to be making work, even if it’s harder to make work in America, ’cause of the way the work is not funded. The work is somehow, at least to me, more important because it’s able to tap into real conversations that real people are having. And that, of course, is much more true now than it was eight years ago. Especially making work in DC feels like there’s the opportunity to do something that is relevant and will make a difference in people’s lives, whereas for me in Europe, I knew from day one that I was making work that felt easy, and I wanted to do stuff that felt hard.

What do you hope audiences walk away thinking or feeling after experiencing St. John the Baptist — especially those unfamiliar with Baroque opera?

The musician in me wants people to have a revelatory experience of not knowing this music and not knowing that this type of music existed, and that it could be so powerful, strange, and affecting. In a larger sense, this piece is so dramatically taut and so immediate and impactful that I want people to almost feel like they never thought opera could be so strong and so fast. I think people tend to think of opera as a space that can give these great, emotionally overwhelming moments. And between those moments, there’s a lot of waiting to get to the next moment, whereas theater tends to be something people think of as more immediate and compelling. I would hope people see this and realize that opera, when it’s done well and it’s the right piece, can actually be both at the same time.

Can you give a quick preview of what else is to come this season?

The next project in December, called The Delta King’s Blues, is kind of what was the germ for the whole idea of the season of premieres. It’s a work we’ve been spending the last three years commissioning. We have a resident artist program named the Cardwell Dawson Artist Fellowship — named for Mary Cardwell Dawson, who ran the National Negro Opera Company in DC in the forties. We started during the pandemic for local Black opera singers who wanted to explore some aspect beyond just singing — whether that’s composing, writing, or directing. And so this is the culmination of that with one of our artists, Jarrod Lee. He’s a librettist and he’s written with the composer Damien Geter a blues opera about the legend of Robert Johnson, the guitarist who sold his soul to the devil to learn the blues. So this is an opera that will combine a blues ensemble and a western classical ensemble and will be set in an immersive juke joint. And then in the spring, we’re doing a festival called Passion Plays, which are three works inspired by the medieval tradition of passion plays, but looking at contemporary themes. One is about police violence, police brutality, or political violence using the music of Bach. One is called Passio, which brings together eight female artists from around the world. It’ll include musical artists from Moroccan traditional Arabic music, Indian drumming, and more that all speak kind of a common language of improvisation. And we’ll talk about their experiences as women in this globalized society. And then the last piece is called For Women Serving Time, which is a new opera by Adrienne Torf about the experience of incarcerated women in America based on a poem by a scholar named Fatemeh Keshavarz. Our final piece is an opera I wrote about six years ago and never thought would be performed called Song of Sakuntala. It’s based on a 14th-century Indian play, and it brings together Indian classical music and western classical music and instruments into sort of a dance opera based on that play — which in the Indian tradition is sort of as ubiquitous as Hamlet is in the West.

Running Time: 75 minutes with Intermission.

St. John the Baptist plays October 2 to 5, 2025, presented by IN Series performing at 340 Maple Drive (IN Series’ new venue in Southwest, DC), and October 10 to 12, 2025, at the Baltimore Theatre Project (45 W Preston St, Baltimore, MD). Tickets range from $45 to $77 in DC and can be purchased online. Tickets range from $25 to $35 in Baltimore and can also be purchased online.

The post Timothy Nelson on staging the shocking opera ‘St. John the Baptist’ appeared first on DC Theater Arts.

The production of Chicago the Musical on tour at Capital One Hall offered a night of razzle-dazzle, though it fell just short of fully igniting the stage. While the performance featured moments of brilliance and musical highlights that captured the sultry spirit of the Jazz Age, it didn’t quite stand apart from other renditions of this iconic American musical. That said, the cast delivered enough standout moments to keep the audience engaged and entertained throughout.

Based on the 1926 play by Maurine Dallas Watkins and first performed in 1975, Chicago features music by John Kander, lyrics by Fred Ebb, and a book by Fred Ebb and Bob Fosse. It remains the longest-running American musical on Broadway. Set in the roaring 1920s, the show blends dark humor and satire to explore themes of fame, corruption, and media sensationalism through the story of Roxie Hart, a housewife turned fame-hungry murderer who finds herself on trial. Alongside her is Velma Kelly, a fellow femme fatale navigating the spotlight and courtroom drama.

The show began with strong momentum. On a minimalist stage with the orchestra prominently placed at center, the opening number made an immediate impact. Dancers in sleek all-black costumes burst onto the stage with their acrobatic choreography and fluid jazz movements, paying homage to the original Fosse style. The visual simplicity of the set design allowed the choreography and performers to shine, and the costuming heightened the production’s themes of allure and mystery. A particularly clever design choice was having Amos Hart, played by Andrew Metzger, not wear all black — symbolizing his outsider status in a world driven by glamour and scandal.

While the production adhered to the style and energy that Chicago is known for, there were some missed opportunities to elevate key scenes. For example, a more dynamic costume change during “Hot Honey Rag” could have added an extra burst of spectacle, emphasizing the scene’s showbiz flair. Scene transitions also occasionally felt abrupt, with some sequences lacking the fluidity that might have better maintained narrative cohesion. Still, the pacing held steady overall, and the energy never waned long enough to lose audience interest.

From an acting standpoint, the tone leaned heavily into comedy — almost veering toward a Disney-like exaggeration in some moments. This caused some characters to feel one-dimensional. Andrew Metzger’s Amos brought consistent laughs with his endearing cluelessness and “sad clown” persona, but a deeper emotional portrayal could have made his performance more resonant, especially in numbers like “Mister Cellophane.” Taylor Lane as Velma Kelly was a standout. Her delivery was effortlessly charismatic, and her musical performances crackled with intensity and control. Lane captured Velma’s complexity — part ruthless diva, part sympathetic survivor — with finesse.

Musically, the production hit many of the right notes. Numbers like “All That Jazz” and “When You’re Good to Mama” delivered in vocal execution and choreography. However, one of the more anticipated scenes — the courtroom tap routine in “Tap Dance” — fell somewhat flat. Instead of the explosive, rhythm-driven spectacle often associated with the number, the choreography opted for subtle foot slides and restrained movement. While still entertaining, it diluted the scene’s usual dramatic punch. Similarly, “Cell Block Tango,” one of the show’s signature ensemble pieces, lacked some of the intensity and elaborate staging fans may expect. The number was performed with precision, but the minimalist movement and sparse blocking made it feel more subdued than sizzling.

Despite its imperfections, the production succeeded in keeping the spirit of Chicago alive. It delivered humor, spectacle, and style in equal parts, even if it didn’t fully reinvent or distinguish itself from other versions of the musical. The cast’s dedication was evident, and their enthusiasm translated into a lively experience for the audience. In conclusion, Chicago the Musical at Capital One Hall may not have completely dazzled from start to finish, but it provided a satisfying evening of theater filled with memorable performances and timeless music.

Running Time: Approximately Two hours and 30 minutes, with a 15-minute intermission

Chicago the Musical plays through June 1, 2025, at Capital One Hall, 7750 Capital One Tower Road, Tysons, VA. Tickets start at $72 and can be purchased online.

The cast and creatives for Chicago the Musical  are on the national tour website here. 

Chicago the Musical

CAST
Velma Kelly: Taylor Lane
Roxie Hart: Ellie Roddy
Fred Casely: Brad Weatherford
Sergeant Fogarty: Christopher Cline
Amos Hart: Andrew Metzger
Liz: Eliza Levy
Annie: Chrsitina Youngblood
June: Angelliz M. Rosado Ramos
Hunyak: Lindsay Lee Alhady
Mona: Faith Jordan Candino
Matron “Mama” Morton: Illeana “illy” Kirven
Billy Flynn: Connor Sullivan
Mary Sunshine: D. Fillinger
Go-to-Hell-Kitty: Zoie Lee
Harry/Martin Harrison: Roberto Facchin
The Doctor/The Judge: Josh England
Aaron: Simeon Rawls
The Bailiff/Court Clerk: Timothy Scott Brausch
The Jury: Chase McFadden

The post In ‘Chicago’ at Capital One Hall, a night of jazz, justice, and jokes appeared first on DC Theater Arts.

StageStruck! VI: Women and the American Musical is a free (yes, you heard that right!) three-day conference celebrating the powerful involvement and enduring achievements of women in American musicals — both on stage and on screen. Created by Dominic Broomfield-McHugh, this vibrant event was scheduled to take place from May 14 to 16, 2025, at The Library of Congress, located in the James Madison Memorial Building’s West Dining Room and Mumford Room, at 101 Independence Avenue SE, Washington, DC.

The first day of the conference highlighted the contributions of historic women in musicals spanning from the 1800s to today. One of the day’s most captivating moments included a riveting, heartfelt interview with legendary director, designer, and writer Julie Taymor (The Lion King). While controversy continues to ripple from The White House regarding the future of the Library of Congress, this conference remains a radiant spotlight celebrating women who, regardless of gender and, for many, race, have refused to let societal limits dim their dreams in the performing arts.

Originally, the day was supposed to include interviews with several trailblazing women in the musical theater industry. Unfortunately, due to unforeseen circumstances, five of the six scheduled guests canceled: Tony-nominated director and choreographer Camille A. Brown (Gypsy, Hell’s Kitchen), producer Marjuan Canady (Hell’s Kitchen), songwriters Shaina Taub (Suffs) and Helen Park (KPOP), and composer Jeanine Tesori (Kimberly Akimbo, Fun Home). Their cancellations came in the wake of President Trump’s decision to remove Librarian of Congress Dr. Carla Hayden, which sparked additional withdrawals from the Library of Congress appearances. Although they were missed, the show, as always, went on.

The day kicked off with “Show & Tell of Treasures” in the West Dining Room at noon. One of the world’s premier performing arts archives, the Library’s Music Division opened its musical theater collections to attendees in an intimate, hands-on showcase. Rare gems were on display, including a cover of Life magazine featuring actress and singer Pearl Bailey as Dolly Levi in Hello, Dolly! (December 8, 1967), detailed stage management logs from Peggy Clark, and the sheet music for “Lullaby in Ragtime” by composer-lyricist Sylvia Fine. This immersive, educational presentation perfectly set the tone for what followed.

In the Mumford Room, Julie Taymor took the stage following a few introductory remarks. Known for works like The Lion King, The Glorias, Frida, and Across the Universe, Taymor offered an emotional, revealing look into her life in the arts. She reflected on her adventurous upbringing and early passion for travel — from Asia to Europe to Africa — and how her global experiences shaped her richly layered work. Taymor candidly discussed the obstacles she faced as a woman in theater and film.

“I had to fight not just being a woman in a box, but other things in a box,” she said, when speaking about the creative restrictions she encountered, especially in New York. She didn’t shy away from sharing her battles with major companies like Sony, who she said “smelled the money” and wanted to strip her work of political and emotional power by cutting key scenes in Across the Universe, including the Washington march, LGBTQ representation, and a powerful Detroit Riot sequence. Taymor also addressed the persistent misogyny in the industry. “Women know they don’t fail upwards. That only applies to a certain group of people,” she said pointedly.

Throughout the interview, Taymor shared clips and behind-the-scenes footage from works such as Liberty’s Taken, Across the Universe, and Juan Darién, offering a deeper look into her artistic process. Her words struck a chord with attendees, painting a poignant picture of the perseverance, courage, and complexity it takes to be a woman shaping American musicals today.

“Keep writing, keep producing. We have to keep doing what we do. Don’t let anything stop us,” Taymor urged. The day concluded with brief remarks from the conference organizers, leaving the audience brimming with inspiration and insight.

StageStruck! VI: Women and the American Musical runs through May 16, 2025, in the Library of Congress James Madison Memorial Building, West Dining Room and Mumford Room, 101 Independence Ave. SE, Washington, DC 20003. It will also be streamed online. This event is free and open to the public; registration is required. Find the full event lineup and register online.

Convenor: Dominic Broomfield-McHugh and the Library of Congress Music Division
Committee: Mark Eden Horowitz, Caitlin Miller, Colleen Montgomery, Stacy Wolf

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I’ve never wished I had a pack of Kleenex on me more than I did Saturday night while watching the production of Modern Warrior LIVE. This deeply moving musical and storytelling performance — presented by Washington Performing Arts — was unforgettable. It powerfully brought U.S. combat veteran Jaymes Poling’s story of military service and personal transformation to life. Directed by Emmet Murphy, the Saturday evening performance at George Washington University’s Lisner Auditorium was a mission accomplished in every sense. It took the audience — which included many veterans — on an emotional journey that not only honored Military Appreciation Month but also emphasized the importance of supporting veterans and truly seeing and hearing them, especially when their own government often falls short in doing so.

Modern Warrior LIVE — created by internationally acclaimed jazz musician Dominick Farinacci — featured Poling narrating his story, starting with his enlistment in the Army at age 17, through his three deployments in Afghanistan, and finally his complicated return to civilian life. With a compelling mix of live, jazz-infused music and narrative, Poling relived his experiences for the audience, offering an honest look at the physical and emotional battles he faced both during and after his military service.

Poling’s storytelling was utterly captivating. From the moment he stepped onto a stage draped in U.S. Army fishnet, his voice conveyed a depth of emotion that gave his words profound weight. The audience could feel what he felt during each phase of his journey: the pride and anticipation of a young man shipping out, the sorrow and grief of losing his comrades in combat, and the confusion, depression, and inner torment that followed his return home. Each of his monologues was brief — often only a few sentences — yet each one was powerful enough to inspire an entire novel.

After each spoken segment, the band performed music that perfectly echoed the mood and message of Poling’s words. The band — composed of trumpeter Dominick Farinacci, pianist Jonathan Thomas, drummer Gabe Jones, bassist Aidan Taylor, and vocalists Will Blaze and Shenel Johns — brought emotional resonance to every beat and note. The setlist included a blend of original jazz compositions, military classics like “Taps” and “Blood on the Risers (Gory Gory What a Helluva Way to Die),” and creative renditions of contemporary songs like Gnarls Barkley’s “Crazy” and Leonard Cohen’s “Hallelujah.”

Visual storytelling also played a vital role in immersing the audience in the experience. A large screen behind the performers displayed striking images relevant to each chapter of the narrative: paratroopers mid-descent, a bullet-pierced window, and a moving slideshow of veterans, among others. Color lighting also heightened the atmosphere — blue, green, red, and gold hues washed over the stage, each representing the emotional tone of the moment. In one of the most connective parts of the evening, Poling invited the audience to sing along, making them feel like a part of his story rather than just spectators.

Several moments stood out and are sure to linger with anyone lucky enough to have been in the audience. Farinacci’s trumpet playing, for instance, had a haunting beauty that stayed with you long after the notes faded. During the post-show Q&A session, one audience member described the trumpet as Poling’s heart and the drums as his thoughts. Building on that sentiment, I would add that the piano represented his actions, while the bass grounded him — the steady presence that keeps him moving forward.

Another unforgettable moment was Will Blaze’s rendition of “Battle Hymn of the Republic.” His voice carried such emotional weight that I couldn’t hold back tears. It was a deeply spiritual performance that transcended the room. Similarly, Shenel Johns’ performance of “Hallelujah” felt transcendent. With a starry backdrop and a voice that seemed to come from beyond, she embodied a celestial presence — perhaps an angel or some other spiritual entity — elevating the emotional gravity of the piece.

Modern Warrior LIVE concluded with a well-deserved standing ovation. The audience’s gratitude was palpable. More than just a musical or theatrical production, this was an experience of collective empathy and reflection. It created a powerful connection between the storyteller and the audience, among the audience members themselves, and with the broader human experience of conflict, survival, and healing. It left a lasting impact, evoking complex emotions about war, government, and our shared humanity.

Running Time: Approximately one hour, plus an hour for Q&A

Modern Warrior LIVE played May 10, 2025, presented by Washington Performing Arts in the Lisner Auditorium at the George Washington University, 730 21st St NW, Washington, DC.

PRODUCTION/CAST
Director: Emmet Murphy
Creator and Trumpeter: Dominick Farinacci
Narrator: Jaymes Poling
Pianist: Jonathan Thomas
Drummer: Gabe Jones
Bassist: Aidan Taylor
Vocalist: Will Blaze
Vocalist: Shenel Johns

The post ‘Modern Warrior LIVE’: A story that marches straight to the heart appeared first on DC Theater Arts.

During a time when people from marginalized communities continue to be condemned simply for existing, Theatre Prometheus boldly pushes back. The company is illuminating the stage with vibrant diversity and proving how refreshing it is to see performers who aren’t just — cough, cough — cis white men, who still dominate much of the theater world. A perfect example of this is the company’s production of John Lyly’s Galatea, currently performing at the Montgomery College Cultural Arts Center in Silver Spring, Maryland. The Saturday evening performance featured a talented and diverse cast that hilariously and wholeheartedly brought the play’s characters to life. Directed by Tracey Erbacher, the show was beautifully queer, unapologetically feminist, and an impressive reimagining of the Elizabethan-era play for a small professional theater.

Galatea is a dramatic comedy exploring themes of love, gender identity, and fate. Originally performed in 1588, the play is set in a mythical world ruled by Greek deities. It centers on two fathers who disguise their daughters, Galatea and Phillida, as boys to save them from being sacrificed to Neptune in a ritual meant to protect their country. The two disguised girls are sent into a forest, where — unaware of each other’s true identities — they fall in love. Meanwhile, a subplot featuring Cupid’s mischievous meddling with nymphs and divine powers adds a layer of whimsical chaos.

The show opened on a minimal yet colorful set that successfully created a mystical atmosphere. Dramatic lighting, ambient sound effects such as birds chirping and wind blowing, and expertly timed audio cues drew the audience into the otherworldly setting. A particularly charming touch was the use of modern pop love songs during scene transitions, giving this production a fun and contemporary flair.

Visually, the show was filled with symbolic and meaningful choices, especially in the costuming. A special shoutout goes to Cupid’s outfit, especially their eye-catching pink and blue sneakers — a clear nod to the trans flag. Galatea and Phillida’s costumes also stood out, featuring vibrant patterns of dots and stripes later in the play. The use of color to express queer joy was both clever and heartwarming.

Speaking of heartwarming, the chemistry between Amber Patrice Coleman (Galatea) and Cate Ginsberg (Phillida) was a highlight. Their portrayals were tender and believable, with both actors fully embracing the romantic arc of their characters. Their onstage connection made the story’s central love plot all the more compelling.

Although the entire cast delivered strong comedic performances, Tristin Evans, who played both Cupid and Populus, stole scenes with their expressive facial acting and impeccable comedic timing. Anabel Milton, in the roles of Tityrus and Telusa, was a standout as well — especially in her physical comedy moments, including a memorable slapstick sequence that had her rolling on the floor (literally). Rakell Foye as Diana and Matthew Crawford as Neptune delivered commanding performances that made it clear their characters were not to be trifled with, especially in moments of divine rage. Marley Kabin (Venus and Eurota) and Jenna Hochkammer (Melebeus and Ramia) also deserve recognition for their energetic, engaging performances, each adding flair and humor to the ensemble.

One of the most delightful elements of the evening was the unexpected amount of audience engagement. At one point, the show briefly turned into an improv performance when Crawford asked the audience to suggest an accent for one of his characters. The actors also broke the fourth wall multiple times to share inner thoughts or make humorous asides — an effective and funny way to invite the audience into the story and make them feel like part of the experience.

In conclusion, Theatre Prometheus’ Galatea is a joyful, empowering production that highlights the beauty of all kinds of love. It’s a must-see if you’re in the mood to laugh, reflect, and celebrate a version of theater that embraces queerness, feminism, and community with open arms.

Running Time: Approximately one hour and 30 minutes.

Galatea plays through May 10, 2025, presented by Theatre Prometheus performing at Montgomery College Cultural Arts Center – Studio Theatre, 7995 Georgia Ave, Silver Spring, MD. Tickets ($0–$27) can be purchased online.

Galatea
By John Lyly

CAST
Galatea: Amber Patrice Coleman
Phillida: Cate Ginsberg
Neptune/Augur: Matthew Crawford
Cupid/Populus: Tristin Evans
Diana/Haebe: Rakell Foye
Venus/Eurota: Marley Kabin
Tityrus/Telusa: Anabel Milton
Melebeus/Ramia: Jenna Hochkammer
Understudy/Swing Track 1: Yael Schoenbaum
Understudy/Swing Track 2: Hedy Valentine

PRODUCTION TEAM
Director: Tracey Erbacher
Assistant Director: Natalia Huitz Corvoisier
Stage Manager: Jessica De Rocco
Assistant Stage Manager: Deacon Withers
Alternate Assistant Stage Manager: Grace Miller
Set & Props Designer: Simone Schneeberg
Scenic Painter: Megan Holden
Lighting Designer: Hannah Kelly
Sound Designer: Levi Manners
Costume Designer: Cheyenne Hill
Dramaturg: Katie Quinn
Intimacy Coordinator: Fiona H.R. Murphey
Production Manager: Cody Estep
Line Producer: Lauren Patton Villegas
Technical Director: Eric McMorris
Marketing Manager: Hannah Wing-Bonica
House Manager: Peter Devine

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The production of Sweeney Todd: The Demon Barber of Fleet Street by Mask and Bauble Dramatic Society at Georgetown University is one that left a big impression on viewers — even with the use of such a small space. Based on the book by Hugh Wheeler, adapted into a play by Christopher Bond, and transformed into a musical by the legendary Stephen Sondheim, this university’s performance is one that is unforgettable. The Poulton Hall at Georgetown University in Washington, DC, opened its doors on April 1 at 8 pm for a press viewing of the adaptation of the timeless musical directed by Noah Vinogradov (SFS ’25). Just like the day of the performance, one would be a fool to underestimate the talent and skills of the students who were a part of this production.

Sweeney Todd: The Demon Barber of Fleet Street is a dark, complex musical that follows the tormented Benjamin Barker, who returns to London under the alias Sweeney Todd, seeking revenge against the corrupt Judge Turpin who sent him away in order to steal his wife. With the help of the manipulative pie shop owner, Mrs. Lovett, Todd embarks on a brutal campaign of murder — using his barbering skills to slit the throats of his unsuspecting victims. Set in 19th-century London, the musical also includes a story of forbidden love between Todd’s daughter, Johanna, and the sailor Anthony Hope.

The performance opened with “The Ballad of Sweeney Todd,” an ensemble number that introduced the audience to the intricate choreography and powerful vocals that would define the rest of the evening. There’s also nothing to chop up about the cast’s acting chops. Each actor’s portrayal of their character was spot on. The lead role of Sweeney Todd was portrayed by Massimo D’Onofrio (CAS ’28), who brought an intense depth to the character. D’Onofrio’s portrayal of Todd was a perfect balance of rage, grief, and madness. His rendition of “Epiphany,” a pivotal number in the show, was particularly impressive as he shifted through a range of emotions — from frustration and anger to sorrow and dark joy — all while maintaining a strong vocal performance.

Daisy Casemore (CAS ’26) played the role of Mrs. Lovett, and her performance brought much-needed comic relief to the otherwise dark and intense production. Casemore’s animated acting and singing infused the character with a manic energy that was both endearing and unsettling. Her over-the-top bursts of excitement were masterfully executed, showing the madness creeping into her character as the story unfolded. Another standout performance came from Jack Markowitz (CAS ’27) as Adolfo Pirelli. Markowitz’s portrayal was flamboyant and full of life. His ability to switch between an Italian and Irish accent was flawless, showcasing his range as an actor and leaving an impression reminiscent of Sacha Baron Cohen’s portrayal of the same character in the 2007 film adaptation. Stratton Rebish (CAS ’28) portrayed Tobias Ragg, and his performance was particularly moving. Rebish captured the innocence and naivety of the character before his tragic descent into madness. The emotional range Rebish brought to Tobias’s transformation was a testament to his acting skill — eliciting sympathy and heartbreak from the audience as his character’s vulnerability became increasingly apparent.

The chemistry between Johanna, played by Hannah Beil (CAS ’28), and Anthony, portrayed by Nate Findlay (CAS ’27), was another highlight of the production. The pair brought a genuine warmth to their love story, with subtle yet powerful moments that demonstrated their deep connection. Beil’s portrayal of Johanna was particularly captivating, especially during her song “Green Finch and Linnet Bird,” where her ethereal voice left the audience in awe. Her ability to hit high notes with such precision and beauty further amplified the emotional stakes of her character’s plight. George Concannon (GSAS ’26) as Beadle Bamford and Jack Kealey (CAS ’25) as Judge Turpin both delivered outstanding performances — embodying the cruel and sinister nature of their respective characters. Concannon’s Beadle was heartless and menacing, while Kealey’s portrayal of Judge Turpin was equally chilling, adding layers of moral corruption to the role.

Again, there is much emphasis to be put on the impressive usage of Stage III’s very intimate space at Poulton Hall. The costumes and makeup also added a great deal to the production. Each character’s appearance was thoughtfully designed, from the disheveled look of Todd to the colorful flamboyance of Pirelli, capturing the essence of their personalities. Additionally, the background actors were essential in creating the world of the play, and their singing and acting in moments such as “God, That’s Good!” were nothing short of impressive.

Overall, this performance of Sweeney Todd was an unforgettable experience, with every element, from the acting and singing to the technical aspects, contributing to a memorable and emotionally charged production. It was a performance that not only entertained but also moved the audience, earning a well-deserved standing ovation.

Running Time: Approximately three hours, plus a 10-minute intermission.

Sweeney Todd: The Demon Barber of Fleet Street plays for the public Thursday, April 3, through Sunday, April 6, 2025; Tuesday, April 8; and Thursday, April 10, through Friday, April 11, presented by Mask and Bauble Dramatic Society performing at Georgetown University in Poulton Hall, Stage III, 1421 37th Street NW, Washington, DC. Tickets (from free to $10) are currently sold out for all dates, but you can register for the waiting list online.

Sweeney Todd: The Demon Barber of Fleet Street
Book by Hugh Wheeler
Music and lyrics by Stephen Sondheim
Adapted from a play by Christopher Bond

DIRECTING STAFF
Director: Noah Vinogradov (SFS ’25)
Assistant Director: Rishu Nevatia (CAS ’27)
Producer: Grady McDonough (MSB ’26)
Assistant Producer: Elle Marinello (CAS ’28)
Stage Manager: Lily Marino (CAS ’26)
Assistant Stage Manager: Alexis Giaquinta (CAS ’28)
Assistant Stage Manager: Megan Lu (CAS ’28)
Assistant Stage Manager: Ruby Lillie (CAS ’27)
Technical Director: Brooke Bergin (CAS ’27)
Assistant Technical Director: Amelie Schulhof (CAS ’28)
Vocal Music Director: Ian Franza (CAS ’25)
Assistant Vocal Director: Molly Jenkins (CAS ’28)
Instrumental Music Director: Anna Holk (CAS ’27)
Assistant Instrumental Director: Claire McDowell (CAS ’27)
Choreographer: Kayla Jones (CAS ’25)
Assistant Choreographer: Charlotte Bonneau (CAS ’28)
Assistant Choreographer: Raquel Silva (CAS ’28)

CAST
Sweeney Todd: Massimo D’Onofrio (CAS ’27)
Mrs. Lovett: Daisy Casemore (‘26)
Beggar Woman: Ruth Abramovitz (CAS ’27)
Judge Turpin/Sweeney US: Jack Kealey (CAS ’25)
Anthony Hope: Nate Findlay (CAS ’27)
Johanna: Hannah Beil (CAS ’28)
Tobias Ragg: Stratton Rebish (CAS ’28)
Adolfo Pirelli: Jack Markowitz (CAS ’27)
Beadle Bamford: George Concannon (GSAS ’26)
Ensemble/Mrs. Lovett US: Emma Erdoes (SFS ’25)
Ensemble/Beggar Woman US: Chiara Volpi (SFS ’28)
Ensemble/Judge-Pirelli Swing: Daniel Tomas (SFS ’26)
Ensemble/Johanna-Tobias Swing: Delaney Devlin (SFS ’26)
Ensemble/Anthony US: Colin Wechsler (CAS ’26)
Ensemble/Beadle US: Julien Catalon (CAS ’28)
Ensemble: Adam Garrity (CAS ’25), Caroline Samoluk (CAS ’25), Kait
Delaney (CAS ’25)

PRODUCTION STAFF
Set Designer: Alec Hamblet (CAS ’27)
Lead Carpenter: Toby Shu (CAS ’28)
Set Dresser: Olivia Holmberg (CAS ’28)
Set Dresser: Mariela Cruz (SFS ’28)
Assistant Set Dresser: Claire Coleman (CAS ’26)
Scenic Artist: Charlotte Hibbert (CAS ’27)
Assistant Scenic Artist: Elle Marinello (CAS ’28)
Assistant Scenic Artist: Isabelle Darman (CAS
Assistant Scenic Artist: Anastasia Kelly (CAS ’26)
Lead Electrician: Cliff Stern (CAS ’26)
Lighting Designer: Mackenzie Pitsko (CAS ’28)
Assistant Lighting Designer: Ruby Lillie (CAS ’27)
Lights Mentor: Nick Romero (SFS ’25)
Sound Designer: Victoria Baioni (CAS ’27)
Assistant Sound Designer: Aidan Green (CAS ’27)
Assistant Sound Designer: Annie Flatt (CAS ’26)
Sound Mentor: Molly Kenney (CAS ’25)
Properties Designer: Patrick van Eyck (SFS ’28)
Properties Designer: Tommy Gaita (CAS ’26)
Assistant Properties Designer: Alexis Tarumianz (CAS ’26)
Costume Designer: Lainey Lyle (SFS ’27)
Assistant Costume Designer: Julia Wang (SFS ’27)
Assistant Costume Designer: Sophie Mayle (CAS ’27)
Assistant Costume Designer: Molly Meehan (CAS ’27)
Costumes Mentor: Miranda Fair (CAS ’25)
Costumes Crew: Callie Gelderman (SFS ’28)
Costumes Crew: Karina Han (CAS ’28)
Hair & Makeup Designer: Ariane Barth (SFS ’26)
Assistant Hair & Makeup: Jean Marte (CAS)
Assistant Hair & Makeup: Marin Napolitano (CAS ’28)
Hair & Makeup Crew: Alex Roberts (CAS ’28)
Hair & Makeup Crew: Daniel Chernyak (CAS ’28)
Publicity Director: Briana Sparacino (SFS ’25)
Assistant Publicity Director: Harry Tang (MSB ’25)
Assistant Publicity Director: Lucia McLaughlin (CAS ’25)
Graphic Designer: Anastasia Kelly (CAS ’26)
Dramaturg: Caroline Woodward (CAS ’27)
Dramaturg: Paulina Inglima (CAS ’27)
Assistant Dramaturg: Demetra Chudley (CAS ’28)
Cruise Director: Alex Roberts (CAS ’26)
Cruise Director: Kate Nonnenkamp (CAS ’27)
Assistant Cruise Director: Chloe Kim (CAS ’28)

PRODUCTION STAFF
Build Crew: Alex Wang (CAS ’25)
Build Crew: Amanda Bell (SFS ’28)
Build Crew: Antoinette Kersaint (CAS ’28)
Build Crew: Autumn Rain Nachman (CAS ’28)
Build Crew: Avelyn Bailey (SFS ’28)
Build Crew: Con Lane (CAS ’27)
Build Crew: Henry Ren (CAS ’26)
Build Crew: Jahana Shamdasani (CAS ’28)
Build Crew: James Kasrawi (SFS ’27)
Build Crew: Peter Sukstorf (SFS ’26)
Build Crew: Reilly Souther (CAS ’27)

BAND
Conductor: Anna Holk (CAS ’27)
Keyboard: Cynthia Gudaitis (SFS ’27)
Bass: Heather Begg (SFS ’28)
Percussion: Brian Weinberger (CAS ’25)
Flute: Katherine Chow (SFS ’28)
Flute (substitute): Caroline Thomas (CAS ’27)
Clarinet: Claire McDowell (CAS ’27)
Clarinet: Sabrina Sterrett (SFS ’27)
Clarinet (substitute): Josie Hwang (CAS ’27)
Bari Sax: Ryan Shea (CAS ’28)
French Horn: Elliott Schusky (SFS ’28)
Trombone: Dominic Wright (CAS ’28)
Trumpet: Amy Nilsson (SFS ’26)
Trumpet (substitute): Ruoxing (David) Yang (CAS ’26)
Viola: Abby Tucker (CAS ’25)
Violin: Jaewoo Chung (CAS ’25)
Violin: Vaishnavi Venkatesh (SOH ’28)
Cello: Matthew Weber (CAS ’28)

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IN Series’ Poppea offers a captivating and praiseworthy performance inspired by Claudio Monteverdi’s iconic opera The Coronation of Poppea. As the concluding chapter of IN Series’ Monteverdi trilogy, the actors and dancers bring to life the tragic, dramatic, and comedic elements of this masterpiece at Dupont Underground in Washington, DC. What makes this rendition particularly unique is its bold challenge to gender norms, blending two worlds by incorporating traditional South Indian performances, including Bharatanatyam dance — one of India’s oldest and most revered dance forms, originating from Tamil Nadu.

In addition to the cultural dances, the characters wore costumes resembling traditional Indian garb, while the stage was elegantly adorned with props that showcased the richness of Indian culture. Just in time for the Holi season, this performance served as both a memorable tribute to Monteverdi and a heartfelt celebration of Indian traditions.

The show’s commitment to a diverse cast and its seamless integration of different cultural elements was both refreshing and impactful, enriching the entire production. The opera explores themes of love, sex, power, and betrayal. Each cast member flawlessly embodied their character and sang their heart out. Their voices were enchanting, and every note they belted out and held took the audience’s breath away. Remarkably, each performer was able to sing one song after another while physically acting, without gasping for air. This is a testament to the divinely gifted talent of each cast member.

Speaking of something divine, the duets between Aryssa Leigh Burrs, who played the character Nerone, and Caitlin Wood, who played Poppea, were a heavenly experience. During one of their duets, their voices blended so harmoniously that, under the warm yellow backlight, they seemed to float together, gazing into each other’s eyes with a fiery chemistry that had the audience captivated. Their connection was so intense that at certain points, some audience members may have felt compelled to look away but could not resist watching.

Maribeth Diggle’s performance as Ottavia was a spot-on, heartbreaking expression of rejection and feeling unloved. The audience was able to experience what many of us fear in life. Attendees could hear sorrow in her voice and the subtle cries she let out while singing. Her voice, echoing off the walls, also stood out, creating an eerie and melancholic experience that could easily bring a tear to your eye.

The opera also featured a trio of dancers whose South Indian dance performances brilliantly served as transitions into each act. Their choreography, performed in perfect synchrony, gave the audience a deeper sense of each act’s mood, enriching the emotional landscape of the opera. The entire show was well done, and it was more than just an opera for the audience to watch. It was an experience where the cast connected not only with each other while in character but also with the audience by performing onstage and, at times, in the crowd. In such a small space, the show was a big success.

Running Time: Approximately two hours and 30 minutes, plus one 15-minute intermission.

Poppea played from March 14 to 16, 2025, presented by IN Series performing at the at Dupont Underground, 19 Dupont Cir NW, Washington, DC. Purchase tickets ($72 for reserved seating, $57–4$2 for general seating, and $35 for students) online or by calling 202-204-7763.

Poppea will also play from March 21 to 23, 2025, at at the Baltimore Theatre Project, 45 West Preston St., Baltimore, MD, where tickets can be purchased ($20–$30) online and from March 28 to 29 at St. Marks Capitol Hill, 301 A St SE, Washington, DC, where tickets can be purchased ($40–$77) online.

Poppea
Stage and Musical Direction by Timothy Nelson
Choreography by Hari Krishnan
With new music composed by Ami Dang and Rajna Swaminathan
Design by Deb Sivigny, Kathryn Kawecki, Paul Callahan

CAST
Poppea: Caitlin Wood:
Ottone: Daniel Moody
Nerone: Aryssa Leigh Burrs
Seneca: Peter Walker
Ottavia: Maribeth Diggle
Lucano: Allan Palacios Chan
Drusilla: Dawna Rae-Warren
The Nurse: Rob McGinness
Love: Elijah McCormack
Damigella: Judy Yannini
Arnalta: Hunter Shaner
Dancers: Yasseen Hassan, Tenesha Hunter, Chitra Subramanian

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BLOOMING WONDERS: A Best of Spring Exhibition is Artechouse’s eighth annual cherry blossom–inspired exhibition. Known for bringing together elements of nature, art, and technology, this showcase by Artechouse continues to grow in popularity as a tribute to DC’s heavily adored cherry blossom season. Tickets to experience the exhibit are now available until early May.

Before opening its doors to the public, Artechouse held an invited exhibit preview featuring new interactive experiences and past fan favorites on March 6. Guests were warmly welcomed by staff immediately upon entering the studio. Once inside, many attendees were blooming with excitement after being shown an informative and well-put-together video about the exhibition and how to get the most out of the experience during a visit.

A couple of flights down, the main floor of the art showcase, known as the Immersion Gallery, caught guests’ attention with its display of vibrant colors and images of nature. The display called PIXELBLOOM: Timeless Butterflies enveloped the space with the fluttering of delicate butterflies and the blossoming of flowers. The floor and walls seemed to come alive, casting radiant hues of pink, purple, blue, and yellow, evoking the warmth and rejuvenation that comes with springtime. Compared to the world outside the studio, it felt as though attendees were transported to a digital dream world — a serene, tranquil escape that provided not only aesthetic pleasure but also a sense of peace and creativity.

Although it was easy to spend more than 15 minutes on the main floor studying every moving image and intricate detail, guests had the opportunity to visit side rooms and hallways filled with more art. There were multiple screens that featured digital artwork to engage with that also included instructions on how to interact with the art and its background history. With the help of the Artechouse XR App, some of the art came to life as an exclusive Extended Reality experience, allowing attendees to connect even more to what they were seeing.

The featured artists behind the exhibits were a diverse and talented group, each bringing their own unique perspective to the space. Among them were renowned creators such as Joon Moon, Mei Tamazawa, Yuko Shimizu, and the French duo Scenocosme. Their works blended creativity and technical mastery, capturing the ephemeral beauty of nature and the blossoming potential of digital media. These masterpieces urged attendees to embrace their curiosity and dive deeper into the unexpected ways art can evoke emotion and spark imagination. For those seeking an extra layer of indulgence, the XR Bar at Artechouse revealed a new custom menu of cocktails and mocktails — which are so beautifully crafted that they seem too pretty to drink, yet too delicious to resist.

Founded in 2015 by Tati Pastukhova and Sandro Kereselidze, Artechouse has quickly become a leader in interactive, technology-driven art. With locations in DC, Miami, New York, and Houston, the museum has garnered significant attention for its ability to combine innovation with artistic expression. Since its inception, Artechouse has produced over 30 multi-sensory art exhibitions, 150 XR activations, and 10 live shows, attracting art lovers, tech enthusiasts, and curious minds alike. BLOOMING WONDERS: A Best of Spring Exhibition is yet another example of the museum’s ability to blend creativity and technology, offering a rich, engaging experience for visitors of all ages.

For those eager to explore the exhibit, BLOOMING WONDERS: A Best of Spring Exhibition is open daily until May 4, 2025, from 10 am to 10 pm, at Artechouse DC, 1238 Maryland Avenue SW, Washington, DC, walking distance from the National Mall, L’Enfant Plaza, and the District Wharf. Tickets are available online, with general admission starting at $24; children ages 4–15, $17; students, seniors, military, first responders, $21. For those seeking more flexibility, tickets for any time are available for $37. The XR Bar is open Monday through Thursday from 4 pm until close and Friday through Sunday from 11 am until close.

SEE ALSO:
The ‘ISEKAI: Blooming Parallel Worlds’ exhibit at Artechouse: Is it theater? (Magic Time! column by John Stoltenberg, March 12, 2024)

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On Sunday evening, February 16, Step Afrika! brought the nation’s best step teams together for its highly anticipated Step Afrika! Step Show at the Warner Theatre in downtown Washington, DC. Founded by C. Brian Williams in 1994, Step Afrika! is one of the nation’s top ten African American dance companies and is the leading global authority on the art of stepping and its importance.

The event presented foot-stomping performances by steppers representing the Divine Nine (Black Greek-letter organizations) and step teams from different parts of the U.S. It was hosted by actress, comedian, and social media influencer Lala Milan, who gave the audience laughs, high energy, and good vibes overall. Alongside Milan was Jeeda The DJ, who kept attendees hyped with a playlist filled with crowd-pleasing songs for the night. The show kicked off with a Divine Nine dance battle, which gave a shout-out to fraternities and sororities Alpha Kappa Alpha, Kappa Alpha Psi, Omega Psi Phi, Delta Sigma Theta, Phi Beta Sigma Fraternity, Zeta Phi Beta, Sigma Gamma Rho, Alpha Phi Alpha, and Iota Phi Theta.

After each organization showed off their dance moves, the night continued with themed step performances by step classic step teams that included:

• The nationally recognized Mighty Light Team from Tallahassee, Florida, which is the official step team of Omega Lamplighters Inc. and consists of high school boys whose fundamental beliefs are Leadership, Academics, Maturity, and Perseverance.
• The recently founded Controlled Chaos Step Team from Baltimore, whose performances highlighting purpose, pride, and power continue to lead them to the top in the stepping world.
• The ETA Chapter of Phi Beta Sigma Fraternity Inc. from Greensboro, North Carolina, who showcase their pride in their fraternity’s values and the art of stepping in Black Greek-letter organizations through their performances.
• The award-winning QuaDrew Step Team from Washington, DC, founded in 2013, a combination of Howard University’s Quad and Drew Hall Step Teams.
• Tha S.W.A.G.G. Boiz (Steppers Working to Achieve Greater Greatness) from Houston, Texas, which consists of middle and high school boys and was crowned Grand Champions at the Dallas Step Show.
• The Federal City Alumnae Chapter of Delta Sigma Theta Sorority, Inc., also from Washington, DC, made up of 20-to-50-year-old women whose performances honor Delta Sigma Theta Sorority’s stepping tradition, celebrate Black History, and teach the audience about important figures and events.
• Taken By Surprise from Lakeland, Florida, an all-female step team with 11 national championships and the longest-running team of its kind in the area with a focus on building character through competition.
• The DMV’s premier all-male step team, Dem Raider Boyz Step Squad from Greenbelt, Maryland, which was founded in 2001 and has 10 undefeated seasons and 4 National Championship titles while maintaining a 3.9 team GPA.

The excitement wasn’t confined to the stage. Audience members were invited to bust out some dance moves in between performances, with Lala Milan and DJ Jeeda keeping the energy high. On top of that, prizes were given to two lucky audience members to see Step Afrika!’s final performances celebrating the company’s 30th anniversary in June. The night concluded with a final show-stopping performance by the artists of Step Afrika!

Running Time: Approximately two hours, with no intermission.

Step Afrika! Step Show, the grand finale of the three-day Step Afrika! Step Classic, played February 16, 2025, presented by Step Africa! performing at The Warner Theatre – 513 13th Street, in Washington, DC. Tickets to the conclusion of Step Afrika!’s 30th-anniversary celebration at Strathmore on June 27 and 28, 2025 — featuring special guests in music and dance — are available online.

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It’s not just any music festival: it’s supported by award-winning nonprofit theater and educational arts organization Creative Cauldron. Creative Cauldron offers its stage every year to various talented musicians from here, there… almost anywhere in the world. From the Metro DC area to Brazil and France to the Andes and beyond, the audience is exposed to various genres that appeal to any type of music lover. Thanks to WAMMY award-winning artists Ken Avis and Lynn Veronneau, who curated the series, this is a charming festival in a welcoming and intimate environment.

The festival plays through February 2, 2025. DC Theater Arts will be covering many, if not all the shows, and a list of the full schedule is below. In-person and virtual tickets for each show can be purchased online. Running time varies by performance.

Daniela Soledade & Nate Najar in “Love & Bossa Nova” Friday, Jan 10 at 7:30pm
Florida-based musicians Daniela Soledade and Nate Najar were the first to stamp this year’s “Passport to the World of Music.” It was a cold night in the DMV, but this duo warmed up the crowd with songs of Bossa Nova jazz, Samba, and other Brazilian music. Najar was on guitar while Soledade, who’s originally from Rio de Janeiro, provided vocals and rhythm by tapping the head of a tambourine. However, a few songs later she gave the audience a delightful surprise during an instrumental performance where she played a flute and also during a heartfelt solo performance of her singing while playing the guitar. Their setlist — sung in a mix of English and Portuguese — included original songs and beloved, well-known classics like “Doralice” and “The Girl From Ipanema.” The entire time, the two were natural storytellers providing chemistry, love, passion, humor, and fun facts about a few songs to help the audience learn more about Brazilian culture throughout the show.

The Kennedys, Saturday, January 11 at 7:30pm

“Celebrating Simon & Garfunkel” presented by Newmyer Flyer, Sunday, January 12 at 2:00pm & 7:30pm

Cecily in “Soul Music for a Better World” Friday, January 17 at 7:30pm
DC-based singer and songwriter Cecily poured out her heart and soul during her performance. With an ethereal voice that’s as smooth as honey, backed by an energetic band, it felt as though Cecily filled the entire room with joy as soon as while singing the first song of the night, “The Edge of a Dream.” The singer took the crowd on a heartwarming emotional journey with songs of love, hope, anti-war, empowerment, and freedom. Soul music can be considered timeless, and Cecily proved that by mentioning current events while singing nostalgic classics by legendary artists like Minnie Ripperton, Phyllis Hyman, and Stevie Wonder. The setlist also included songs on the funkier side from groups like Earth, Wind & Fire — which got the audience out of their seats to dance. Cecily also performed some of her original songs, including “Acceptance,” which, while listening to it, felt like a warm hug from your favorite person.

Project Locrea, Saturday, January 18 at 7:30pm

Shenandoah Run, Sunday, January 19 at 2:00pm

DC Great Guitars, Sunday, January 19 at 7:30pm

Afrocidade, Friday, Jan 24 at 7:30pm
What’s a better way to understand the deep connection between Washington, DC, and Brazil than through Afrocidade? On Friday night, the multicultural group gave the audience an exhilarating look into the shared culture and history between DC and Salvador Bahia in Brazil through song and dance. The first set of the concert featured Brazilian songs such as “Baianidade Nagô” and “Quilombo, o el Dorado Negro” with the group’s backup singers and featured dancer wearing traditional Bahian attire. The second set involved a wardrobe change that featured modern clothes that pay homage to African American culture in DC. The group also brilliantly demonstrated how popular songs in America — especially in African American culture — like the go-go hit “Sardines” by Junk Yard Band, were influenced by the sounds of Brazilian music through smooth transitions from one song into another. Throughout the concert, Afrocidade encouraged the audience to fully immerse themselves in the experience by dancing, clapping along, and participating in calls and responses during their performances. It was surely a history lesson the crowd will never forget.

Cathy & Marcy with Chao Tian & Snehesh Nag in “From China to Appalachia” Saturday, January 25 at 7:30pm
Grammy Award-winning artists Cathy Fink and Marcy Marxer, alongside Chinese yangqin player Chao Tian, showcased the magic of cultural fusion and created an out-of-this-world musical experience. Fink and Marxer brought Appalachian music to life with instruments like the gourd banjo, five-string banjo, and mandolin, which effortlessly paired well with Tian’s yangqin. The trio created Chinese Appalachian versions of songs like “Mary, Don’t You Weep” and “Ruby, Are You Mad at Your Man?” and songs based on Chinese folklore like the Legend of the White Snake. In another highlight, Tian introduced a Chinese instrument called the sibao during another buzz-worthy performance with Fink and Marxer — transporting the audience into a tranquil forest of sound. Sitar player Snehesh Nag also joined the trio for a few songs, offering a solo performance that made it feel like the entire world was at peace.

RAYMI, Sunday, January 26 at 2:00pm

Brad & Ken Kolodner, Sunday, January 26 at 7:30pm

Veronneau, Friday, January 31 at 7:30pm
NEW The theme of Veronneau’s concert was all about togetherness, and the band truly delivered, uniting the audience through a heartfelt blend of multilingual songs celebrating love, peace, and friendship. The ensemble featured lead vocalist Lynn Veronneau, guitarist and vocalist Ken Avis, and violinist Dave Kline — whose solos infused the performance with both energetic bursts and gentle, soothing moments. The crowd was able to sing along to a diverse mix of French classics, American hits, and original compositions by Avis. Lynn Veronneau’s voice transformed many songs, including the iconic “Non, Je ne Regrette Rien” by Édith Piaf, into comforting lullabies. Veronneau also impressed the audience with an unexpected solo whistling performance, producing a sound so pure and melodic it could’ve been plucked straight from a fairy tale. Another standout moment came when Avis and Kline electrified the audience with a guitar-violin duel. Their playful musical exchange created a captivating harmony that had the audience clapping along. In the end, Veronneau left attendees with a lasting sense of camaraderie, warmth, and joy.

Little Red & The Renegades Mardi Gras Passport Finale Party, Saturday, February 1 at 7:30pm

SEE ALSO: Creative Cauldron to welcome the new year with ‘Passport Music Festival’  (news story, December 19, 2024)

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