Imagination Stage is known for presenting the highest quality theater for young audiences, and Petite Rouge: A Cajun Red Riding Hood is no exception. This inventive adaptation by Joan Cushing, based on the book written by Mike Artell and illustrated by Jim Harris, puts a Louisiana twist on the classic fairy tale. Our heroine is a young duck named Petite Rouge (Jordan Leah Embrack), donning the titular red cape, and the Big Bad Wolf is now an alligator chef named Claude (Michael Perrie Jr.).

In this updated story, Mrs. Duck (Edima Essien) sends Petite Rouge and her best friend, a smart-alecky cat named TeJean (Stephen Russell Murray), to deliver gumbo and hot sauce to Rouge’s ailing Grandmere (Aja Goode). Along the way, Petite Rouge decides to take a detour to see a bit more of the world. Concurrently, we learn that Claude is absolutely famished, and upon seeing our heroes, he resolves that having duck on the menu is the only way to satisfy his hunger. Petite Rouge and TeJean try to evade Claude, meeting some Gator Trappers (Carl L. Williams, Essien, and Goode) who offer to assist in Claude’s capture. The chase takes the pair onto a riverboat and through a Mardi Gras celebration in New Orleans. The final scenes at Grandmere’s house have a spicy twist, giving our heroes a new way to triumph over the dastardly gator.

The spirited score transitions through musical styles, including bluesy tunes, rollicking zydeco beats, uplifting Disney-esque ballads, and even a dirge. The exceptional vocals of the ensemble, Maurice Johnson’s exuberant choreography, and the deft hand of music director Deborah Jacobson complement each song’s unique style.

Jordan Leah Embrack as Petite Rouge has dazzling vocals and infectious energy. “Waiting for Life to Start!” (the song presenting the duck’s greatest desire) showcases Embrack’s vast talents, singing with optimism and joy reminiscent of many a Disney favorite. Murray’s TeJean is the perfect compatriot for our heroine. His dance and tumbling skills were on display during the Mardi Gras scene, wowing the audience.

Michael Perrie Jr.’s Claude was exceptional, playing the villain with a mix of comedy and playful malice. Claude adopts several disguises in his efforts to trick the little duck and cat, each distinct and with a dash of hilarity. Every moment Perrie Jr. was on stage elevated the production. Finally, the ensemble delivered, with Essien, Goode, and Williams moving effortlessly through a multitude of characters and critters. This trio drives the plot forward, singing five installments of “The Ballad of Petite Rouge” to let us know where we’re headed next.

The acting isn’t the only stellar part of this fun production; the production design is truly outstanding. Sophia Tepermeister’s set is beautifully evocative of a weeping willow in a Louisiana swamp and is the perfect functional playground for the actors to inhabit. Andrea “Dre” Moore’s props were whimsical and set the scene perfectly. The costumes (designed by Paris Francesca) give a playful nod to the creatures portrayed by each performer without becoming a full caricature.

Christian D. Henrriquez’s lighting was a visual delight, with eye-catching colors and patterns to enhance the vibes in the bayou and at the Mardi Gras celebration. Sam Crawford’s sound design was essential in creating an immersive feel throughout our little duck’s journey.

Further kudos must be given to director Nathaniel P. Claridad. The production was seamless, and each scene and musical number was captivating and clear. Everything came together to create a fun, upbeat, and charming production.

Petite Rouge: A Cajun Red Riding Hood is sure to delight audiences of all ages. I attended with my five-year-old child and spouse — and all three of us bopped along to every song and giggled with delight at Claude’s antics. This is a show not to miss.

Running Time: Approximately one hour, without intermission.

Petite Rouge: A Cajun Red Riding Hood plays through February 8, 2025, at Imagination Stage, 4908 Auburn Ave, Bethesda, MD. Shows are Saturdays and Sundays at 1:00 and 4:00. Special holiday week performances are December 26 and 27 at 11:00 and 2:00, December 28 and 29 at 1:00 and 4:00, December 20 at 11:00 and 2:00, and December 31 at 11:00. Tickets ($12 and up) can be purchased online, in person at Imagination Stage’s box office, or by calling the box office at 301-280-1660.

Best for ages 5+.

COVID Safety: Masks are optional.

Petite Rouge: A Cajun Red Riding Hood
Based on the book Petite Rouge by Mike Artell, illustrated by Jim Harris
Book, Music, and Lyrics by Joan Cushing
Directed by Nathaniel P. Claridad

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Yearly holiday traditions vary from person to person, but there are a few common themes: music, magical moments, and time with loved ones. Puppet Co.’s charming production of The 36th Annual Nutcracker delivers on these with a seasonal delight for all ages.

The opening scenes feature the ensemble in head masks, reminiscent of the marionettes used later in the performance. In pantomime, we see the children — Clara and Fritz — tussling over toys on Christmas Eve. The children and their mother are soon joined by the Drosselmeyer (the children’s godfather and an all-around mysterious figure), who enacts a brief hand-puppet show before presenting the children with a gift — the eponymous Nutcracker.

As the children go to sleep, the enchantment begins for Clara. Through the painted backdrop shifting, stage flooding with haze, and flashing lights, a magical land under the Christmas tree appears with mischievous mice running amok. The now larger-than-life Nutcracker enters to rescue Clara from the sneaky vermin. The marionette armies of mice and toy soldiers fight while the Nutcracker triumphs over the seven-headed Mouse King. With a bit of theater magic, Clara and the Nutcracker transform into marionettes and fly off into the magical Land of Sweets.

The Land of Sweets features a cavalcade of stunning scenes with masterful puppet work and delightful movement. My five-year-old child’s favorite vignettes were the blue dragon dance, dancing flower puppets, and blacklight-drenched multicolored bird puppets. The Russian dancers on wheeled stools were a particular highlight, with fun and playful choreography. Lively nursery rhymes and fairy tales were also sprinkled in, to the delight of the children in the audience.

As their time in the enchanted land winds down, the Nutcracker is transformed into a prince and kisses Clara goodbye. However, the Drosselmeyer returns to put an end to the magic and return Clara to reality.

The hard-working ensemble (Marshall Bailey, Hannah Chester, Mollie Greenberg, Rose Talbot, and Petrona Xemi Tapepechul) skillfully navigated the frequently changing characters, costumes, puppets, and scenes. They are superb puppet artists and keen storytellers, using movement, dance, and pantomime to bring this ballet to life. Through Danny Pushkin’s direction and the vision of the founding team of Allan Stevens, Christopher Piper, and MayField Piper, the story and characters were incredibly clear, with dynamic movement and fascinating scenes.

The production design (lighting, set, fog effects) wowed in making the magic feel tangible and exciting and was key in moving the narrative forward. The puppets were stunning and awe-inspiring for my little one, while the costumes helped to reflect the puppet design and reinforce the otherworldliness in the enchanted land. My first thought was that the head masks were a bit creepy, but they grew on me rather quickly — especially after encountering the large, delightful Nutcracker mask.

The show is set to Tchaikovsky’s classic score recorded by the Arlington Symphony. This music is the epitome of the Christmas season and is always fun to hear.

There’s a reason that this production has come back for 36 years. It is a charming holiday treat that appeals to nearly everyone celebrating Christmas. For today’s youngsters, be warned that the pace moves a bit slowly near the beginning, but their patience will be rewarded once the Nutcracker comes to life. The show feels traditional and a bit old-fashioned, but in a timeless and nostalgic way — even for a first-timer to this show like me.

Anyone looking for a classic, magical, family-friendly, charming holiday experience should consider this sweet and loveable revival at Puppet Co.

Running Time: Approximately 60 minutes.

The 36th Annual Nutcracker plays through December 31, 2024 (Thursdays and Fridays at 10:30 am, Saturdays and Sundays at 11:30 am and 1 pm), at the Puppet Co. Playhouse, 7300 Macarthur Blvd, Glen Echo, MD. Purchase tickets ($15 per person, under age 2 no ticket required) by calling 301.634.5380 or order them online.

Recommended for ages 4+. Helpful driving and parking instructions are here.

COVID Safety: Masks are strongly encouraged for all over the age of 2.

The 36th Annual Nutcracker
Originated by the founding team of Allan Stevens, Christopher Piper, and MayField Piper and the music of the Arlington Symphony Orchestra.
Directed by Danny Pushkin

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As a parent of a pre-schooler, I have been taking my child on a tour of “theater for young audiences” offerings around the DMV. There is no shortage of high-quality theater offerings for children in the region — and the Puppet Co. continues to be requested by my little one.

This retelling of Hansel and Gretel is steeped in the classic German fairy tale — complete with over-the-top German accents and references to German treats — but with some updates that are a bit more palatable for a younger audience. Len, Patricia, and Christopher Piper’s version (with edits by Elizabeth Dapo and Danny Pushkin) was originally performed at the Puppet Co. in 2014, but returns as one of the Puppet Co.’s Legacy Productions, bringing favorites from the past back to the Mainstage season.

Hansel neglects chores and causes mischief at home, while pragmatist Gretel attempts to convince Hansel to pick up the slack. After Hansel spills the family’s milk (a special treat), the pair propose going to the woods to pick strawberries. When the children’s mother lets the father know of this plan, he reveals knowledge of a child-stealing witch in the forest, so the parents speedily depart to follow the children. The kids, of course, get lost in the woods, with a brief passing mention of the trail of breadcrumbs Hansel left along the way.

After a night of sleeping in the forest (with the help of the visiting singing Sandman), the children wake to discover the mysterious appearance of a gingerbread-and-candy house. After hungrily devouring parts of the house, the house’s owner (the aforementioned witch, of course) arrives to capture the children and plans to bake them into gingerbread. As Hansel is held captive under the witch’s spell, Gretel’s quick wit allows the tots to best the witch, tossing her into the oven and turning her to gingerbread instead. (The gingerbread witch was hit with the kids in the audience).

The set (designed by Christopher Piper) mimics what one may think of when creating a traditional puppet show, with a small enclosed space for the marionettes to explore and multiple painted backdrops to change the setting. The lighting (also by Piper) helped to further differentiate the locations and set the mood, especially in the more ominous moments (my kid particularly loved the star drop).

Performers Lee Gerstenhaber and Mollie Greenberg are perched above to control the marionettes and perform the skillful voice acting required to jump from character to character. The work juggling the multiple puppets and portraying many characters’ voices was quite impressive. At times, one performer may be controlling two puppets while providing the voice for a puppet controlled by their counterpart. While my daughter was awed at the cool marionettes, I was transfixed on watching the deft handiwork and acting chops of the two actors, marveling at the choreographed dance of transferring puppets and weaving around each other.

The puppets themselves were beautifully made, and I can see why the Puppet Co. would want to revive this production and showcase the craftsmanship put into these marionettes.

The music was cute and engaging — I only wish there was more of it! A few moments of silence, especially when related to some minor technical hiccups in adjusting the set, could have benefitted from musical coverage and fuller orchestration.

Overall, the Puppet Co’s Hansel and Gretel is a great afternoon for families with young ones. My 4-year-old tends to find a lot of movies and media “too scary” and found this kid-friendly retelling to have a few moments of “fun-scary,” but mostly “fun.”

Running Time: Approximately 45 minutes.

Hansel and Gretel plays through February 18, 2024, at the Puppet Co. in Glen Echo Park, 7300 MacArthur Blvd, Glen Echo, MD. For the performance schedule and tickets ($15), click here.

Recommended for ages 4+.

COVID Safety: Masks are strongly encouraged for all patrons age 2 and older.

Hansel and Gretel
Original Script by Len, Patricia, and Christopher Piper
Script Edits by Elizabeth Dapo and Danny Pushkin
Directed by Danny Pushkin

CAST
Lee Gerstenhaber as Hansel and others
Mollie Greenberg as Gretel and others
Understudy: Ingrid Bork

DESIGNERS AND CREW
Sets by Christopher Piper
Puppets by Christopher Piper
Sound Design by Elizabeth Dapo
Lighting Design by Elizabeth Dapo
Puppet and Set Maintenance: Elizabeth Dapo, Andrea “Dre” Moore

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With a four-year-old, Eric Carle’s colorful stories are a staple in my home, with Brown Bear, Brown Bear and The Very Hungry Caterpillar as particular favorites. The vibrant illustrations, animated animals, and simple but powerful stories are ideal for young children. As is The Very Hungry Caterpillar Show at Imagination Stage, bringing the pages from two to three dimensions with eye-catching puppets in a beautiful, vivid environment.

The Very Hungry Caterpillar Show (created by Jonathan Rockefeller) has been performed worldwide and returns to Imagination Stage after a 2019 sold-out run, now as part of its “Greatest Hits” series. The show depicts the stories of Brown Bear, Brown Bear, The Very Busy Spider, 10 Little Rubber Ducks, and the titular Very Hungry Caterpillar. Actor/puppeteers Jordan Essex, Irene Hamilton, and Andrés F. Roa bring the perfect storytelling energy for the young audience while also deftly manipulating the exquisite puppets.

The show boasts over 75 puppets, and each looks like it’s pulled directly from the storybook pages. The prismatic puppets absolutely dazzled my four-year-old daughter; her eyes were wide, her face filled with surprise, and she hopped up and down in her seat with energetic glee for the entire 45-minute-long performance. Her review of the show included frequent whispered asides of “Wow!” “Look at that!” “So cool!” “I love that!” “Beautiful!”

The show’s slow and deliberate pace gave each of the showstopping puppets enough time on stage for the audience to revel in its presence. And in our fast-paced technology-filled world, it was fantastic to see a room full of children held in rapt attention by theater magic. Director Kathryn Chase Bryer and this fabulous ensemble made the striking animal puppets feel nearly real and effectively showcased with the puppets the joy found in reading Carle’s books.

Highlights include the red bird flying over the audience, eliciting squeals of joy from the children; the menagerie of different animals that surprised us during 10 Little Rubber Ducks; and, of course, the namesake caterpillar’s spectacular metamorphosis. My kid’s favorite? “When the caterpillar got realllllly big.”

The white set soaked up the colors of the rainbow of lights (with lighting designed aptly by Jason Arnold). The puppets caught the light beautifully, and the performers in all-white also shifted from color to color as the lights changed. The whimsical music and joyful sound design (by Robert Pike) were integral to the magic and wonder of the experience.

This show wowed my daughter (and me), held her attention for the entire time, and offered one of the most magical theater experiences I could possibly imagine for my young child and me to share.

The Very Hungry Caterpillar Show plays until October 22, 2023, in Imagination Stage’s Annette M. and Theodore N. Lerner Family Theatre. Shows for the general public are on Saturdays and Sundays at 10:00 and 1:00. Tickets are $12 and up and may be purchased online, in person at Imagination Stage’s box office, or via phone at 301-280-1660. Group rates are available for parties of 10+.

The program for The Very Hungry Caterpillar Show is online here.

The Very Hungry Caterpillar Show
Created by Jonathan Rockefeller, based on Eric Carle’s books. Directed by Kathryn Chase Bryer. The cast includes puppeteers Jordan Essex, Irene Hamilton, and Andrés Roa; the Lighting Designer is Jason Arnold and the Sound Designer is Robert Pike. Samantha Leahan is Stage Manager, Luna Hernández is Spanish Language Dialect Coach, and Matthew Pauli is Puppet Consultant.

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What do you get when you combine a sextet of bouffons (clowns à la Jacques Lecoq’s school of physical theater) and the most outrageous things in American society from the past few years? A funny and often insightful Fringe show!

This Is What You Look Like begins with the Q-Anon Shaman leading a land acknowledgment and the national anthem — in this case, “Colors of the Wind” from Disney’s Pocahontas then “Proud to be an American.” From there, the show continues its 55-minute nonstop satirical series of vignettes looking at the world through a distorted fun house mirror.

Topics of mockery and warped reflection include incels, LGBTQ+ panic and all-gender restrooms, J.K. Rowling, Taylor Swift, toxic masculinity, gun violence, abortion, and world politics. Despite heavy-sounding topics, the audience was laughing, occasionally grossed out or groaning, and sometimes cringing.

The skilled ensemble from mimebaby theatre deftly embodied the grotesque, bulbous jesters, delightfully shocking the audience at every turn.

The myriad vignettes themselves were hit or miss. Some critiques of modern society felt a bit too “on the nose,” with little new to say on the topic. Some moments were pure gross-out humor or outlandishly sexual. However, a few were surprisingly thought-provoking and intriguing, making me question why I felt offended or shocked.

As the title suggests, we too are participants in the society being ridiculed, watching snippets of our world and being asked to view ourselves through the distorted mirror. No one is safe from being mocked, questioned, or prodded in this play — audience included — which makes for a largely worthwhile, amusing, and mentally-stimulating evening.

Running Time: 55 minutes.

This Is What You Look Like plays July 22 at 9:00 pm and July 23 at 3:30 pm at Sweet – 3rd Floor – 1050 Thomas Jefferson. Tickets are $15 and can be purchased online.

Genre: Comedy
Performed and created by: Brian Bowyer, Heather Hosford, MK Korbisch, Connor McAndrews, Chelsea Thaler, Rose Weiss
Age appropriateness: Appropriate for Adults Only
Profanity: yes

SEE ALSO: 2023 Capital Fringe Preview: ‘This Is What You Look Like’
(preview by Chelsea Thaler, July 12, 2023)

The complete 2023 Capital Fringe Festival guidebook is online here.

The post 2023 Capital Fringe Review: ‘This Is What You Look Like’ (4 stars) appeared first on DC Theater Arts.

Music is often an integral part of how young people learn who they are, define themselves, and find their community. I myself found a sense of belonging through rock and hardcore concerts in the late ’90s and early 2000s, so Angel Number Nine spoke my language and had me cheering on the band.

Rorschach Theatre has done incredible work in transforming the space at 1020 Connecticut Ave NW. Upon arrival, audiences are given wristbands and invited to peruse a display on the DC music scene. Displays on Sousa, ethnomusicology, jazz, protest music, the recording boom, Go-Go, and punk/hardcore line the walls — aligning with the musical themes featured in the Dissonant City project.

After viewing the displays, checking out the listening station with curated playlists, perusing the merch booth, and reading about local bands, the audience is directed downstairs to a ’90s dive bar. All are invited to grab a drink or snack and choose a seat at a bar table, complete with mismatched folding chairs and stools, surrounding the concert stage.

The play itself takes place at various spots throughout the room, including onstage, at the bar, in a lounge-y couch area, and at a table representing a coffee shop. Audience members are prompted to get up and follow the action when needed, but few did so the night I attended. I was able to see most of the scenes from my seat near the stage — though I had trouble hearing some of the dialogue from across the room. But some members of the audience may delight in physically following the action like a piece of promenade theater.

We follow Angel (Kate Kenworth), lead singer of an emerging rock band out of Richmond, Virginia, called Angel Number Nine. One night at a bar with her best friend and co-worker Christa (Irene Hamilton), Angel encounters the mysterious god Cupid (Robert Bowen Smith). This meeting coincides with the band being offered a spot on a tour to two cities: Angel’s hometown of Charlottesville and Washington, DC. This sets Angel on a path of re-examining past loves — like insensitive ex-boyfriend Billy (Max Johnson) and friend/love Dani (Bri Houtman), who tragically ended their own life — and past mistakes.

The true highlights of the show were the rock band performances. Shawn Northrip’s original music — evocative of bands like Sleater-Kinney, Bikini Kill, Pixies, or Hole — was electrifying. Some songs were hard-rocking hits while others gave hints into Angel’s mind and feelings on loves lost. The band itself (Veronica Rose Bundy as Delia, Lauren Farnell as Connie, James Carlos Lacey as Jesús, and Billy Bob Bonson as Wally) did an outstanding job and put on a hell of a show — particularly the skillful and deft guitar work by Bundy (member of real-life band In Shallow Seas).

The dialogue, with the script adapted by James L. Rogers III and Jenny McConnell Frederick from Rogers’ novel, felt conversational and genuine. It gave me an immense wave of nostalgia, reminding me of how my alt-rock friends in high school would balance fun banter with deep personal conversations (and of the cool young adults we emulated from the film Empire Records).

At times, the script seemed more cinematic than theatrical, with some intimate scenes perhaps being better served by close-up camera work than by sitting in a bar across the room. And in some cases, flashbacks and dream sequences were filmed and projected rather than performed live. While the video work was well done, interestingly shot, and powerful (overseen by Kylos Brannon), I’m not sure how much having the filmed sequences added to the performance. The script also felt a bit long; some scenes could certainly have been trimmed down for more effective results.

Kenworth shines as Angel, with their natural charm, captivating vocals, and powerful performance carrying the show forward. Their chemistry with their bandmates, Christa, and sister Sophie (skillfully performed by Constance (CC Meade) was a delight to watch. Hamilton as Christa, Farnell as Connie, and Lacey as Jesús were also standout actors, with authentic performances that made me look forward to their next appearances onstage.

I was left wondering how necessary Cupid was to the story. Could Angel have not traveled on this journey without prompting from the god of love? The initial encounter between Angel and Cupid was baffling and the least clear moment of the show, which likely soured me on the deity’s presence. While Smith successfully played a delightful and seductive Cupid, the god in the story did little to move things along. I wished he was a bit more of a puckish trickster rather than a passive observer — and it would have been fun to see Smith get an opportunity to let loose even more in the role.

The design work made for an incredible immersive environment. From the dive bar set by Nadir Bey, the largely spot-on ’90s rock scene costumes by Ashlynne Ludwig, and lighting by Marianne Meadows that helped guide us through the space, the atmosphere was a joy to soak in.

A few words of warning: the music is loud (take advantage of the free earplugs), the folding chairs are authentically wobbly, and there are frequent strobe lights. Despite that, Angel Number Nine made for a fun and worthwhile evening, hitting so many spots on my “things I love to see in the theater” bingo card: bisexual and queer representation, kick-ass rock music, naturalistic dialogue, magical realism, and a truly immersive experience.

Angel Number Nine plays through July 30, 2023, presented by Rorschach Theatre performing at Washington Square, 1020 Connecticut Avenue NW, Washington, DC (near the Farragut North Metro Station). Purchase tickets ($30–$45) online. Discounts, including information about limited $10 tickets, can be found here. This show contains mature content. For more detailed descriptions visit rorschachtheatre.com/angel-content-information/.     

The program for Angel Number Nine is online here.

COVID Safety: At this time masks are optional for audience members, staff, and artists. All staff and artists have been vaccinated. Vaccination checks are not required for audience members. We will continue to monitor and follow guidelines and recommendations from the Center for Disease Control (CDC) and DC Health (DCH). Our COVID-19 Safety Practices & Policies are continually being refined to ensure a safe, clean, comfortable experience for everyone, and practices and plans will be updated as circumstances and guidelines change.

Angel Number Nine
Adapted by James L. Rogers III and Jenny McConnell Frederick from the novel by James L. Rogers III
Original Music composed by Shawn Northrip
Directed by Jenny McConnell Frederick
FEATURING Ian Armstrong, Billy Bob Bonson, Veronica Bundy, Lauren Farnell, Kate Kenworthy, Irene Hamilton, Bri Houtman, Max Johnson, James Carlos Lacey, CC Meade, and Robert Bowen Smith.
DESIGNED BY Nadir Bey (Set), Kylos Brannon (Video), Ashlynne Ludwig (Costumes), James Morrison (Lights), Ian Vespermann (Sound) and Luke Hartwood (Props).
WITH Shawn Northrip (Music Director), Caraline Jeffrey (Stage Manager), Christian Sullivan (Technical Director), Malory Hartman (Master Electrician), Tabitha Littlefield (House Manager), Michael Kyrioglou (Box Office Manager), and Germar Townsend (Production Manager)
PRODUCED BY Randy Baker and Jenny McConnell Frederick

SEE ALSO: Rorschach’s inventive ‘Dissonant City’ to culminate with ‘Angel Number Nine’ (feature by Rebecca Calkin, June 21, 2023)

The post Rorschach’s ‘Angel Number Nine’ rocks electrifying immersive performance appeared first on DC Theater Arts.

For anyone who has ever fallen in love with music, you know the feeling when Cupid’s arrow hits your heart and the song (or band or genre) you hear becomes part of your life’s soundtrack. In Rorschach Theatre’s third Psychogeography Project, Dissonant City, the Roman God has found a path through the musical history of Washington, DC, and acted as an immortal guide, observer, documenter, and disrupter. With the upcoming live performance and culmination of the project, Angel Number Nine, it seems that Cupid’s arrow will strike once again.

From the show description:

When Angel meets Cupid in a bar and her band gets an opening slot on a tour, life takes some unexpected turns into a past she tried to leave behind. Part rock show, part booze-soaked road trip through the dive bars and dark clubs of the late ’90s East Coast music scene, Angel Number Nine promises to show us that the things we need are sometimes found on the roads we tried to avoid.

Subscribers to the Dissonant City project are eagerly awaiting this live performance, having taken a musical tour of Washington, DC, over the past seven months. Each of the six mystery boxes mailed to homes (the seventh is set to arrive imminently) includes a location, a visitor’s guide with instructions and the path to follow, and a packet of objects that reveal the larger story of Dissonant City. Through the course of this journey, I and my fellow psychogeographers have traveled through time, from the mid-1800s to the 1990s, and a variety of musical styles.

Through the ages, we marched to Sousa at the Congressional Cemetery, moshed to punk at a church/concert venue, explored Capital Hill with a classic Korean folk song, snapped to jazz at a record shop, reflected on the tumultuous 1960s on U Street with a soundtrack Otis Redding, and grooved to Go-Go in Anacostia. I read beautiful letters, studied photographs, ate candy, listened to records, and pored over artifacts that turned my walking tour into a voyeuristic snapshot into a character’s life. And thankfully, an accessible video version was available for the few times I couldn’t get out of the house but still wanted to continue on this harmonious odyssey.

As we ventured through history, there was clear attention brought to the differences between the past and the present. Juxtaposing historical photos and descriptions of the past was powerful when faced with the world in real time. The buildings, people, and businesses have mostly changed — and the ones that have endured overcame quite a lot to remain.

The characters in each installment were changed by music, including feeling a first taste of freedom after a conservative religious upbringing, loving a new genre so much as to abandon a job and commit to a lifetime of preserving that music, and leaving one’s home country and straying from the traditional family path to pursue one’s passion. And all involved meddling from Cupid — taking a variety of forms and reporting back to Psyche after striking the hearts of those around them.

The project will soon go out with a bang with Angel Number Nine. After several months of boxes in the mail and exploring at one’s own pace, the story and audience will all converge on 1020 Connecticut Avenue NW to feel the music live and in person. Rorschach is taking on the significant task of converting a former retail space into a ’90s rock bar and highly immersive theatrical experience. With a bar for drinks, curated listening stations, vinyl for sale, and an exhibit highlighting DC’s musical history, this promises to be more than an average night at the theater.

While those who have experienced the full Dissonant Cities experience may find a special connection in Angel Number Nine, the show can be appreciated by anyone. If you missed out on the seven-chapter psychogeography experience, it should not affect your ability to rock out and enjoy this play.

Angel Number Nine will play July 7 to 30, 2023, presented by Rorschach Theatre performing at Washington Square, 1020 Connecticut Avenue NW, Washington, DC (near the Farragut North Metro Station). Purchase tickets ($30–$45) online. Pay-What-You-Can Previews July 7-9. Discounts, including information about limited $10 tickets, can be found here. This show contains mature content. For more detailed descriptions visit rorschachtheatre.com/angel-content-information/.     

COVID Safety: At this time masks are optional for audience members, staff, and artists. All staff and artists have been vaccinated. Vaccination checks are not required for audience members. We will continue to monitor and follow guidelines and recommendations from the Center for Disease Control (CDC) and DC Health (DCH). Our COVID-19 Safety Practices & Policies are continually being refined to ensure a safe, clean, comfortable experience for everyone, and practices and plans will be updated as circumstances and guidelines change.

ANGEL NUMBER NINE
Adapted by James L. Rogers III and Jenny McConnell Frederick from the novel by James L. Rogers III
Original Music composed by Shawn Northrip
FEATURING Ian Armstrong, Billy Bob Bonson, Veronica Bundy, Lauren Farnell, Kate Kenworthy, Irene Hamilton, Bri Houtman, Max Johnson, James Carlos Lacey, CC Meade, and Robert Bowen Smith.
DESIGNED BY Nadir Bey (Set), Kylos Brannon (Video), Ashlynne Ludwig (Costumes), James Morrison (Lights), Ian Vespermann (Sound) and Luke Hartwood (Props).
WITH Shawn Northrip (Music Director), Caraline Jeffrey (Stage Manager), Christian Sullivan (Technical Director), Malory Hartman (Master Electrician), Tabitha Littlefield (House Manager), Michael Kyrioglou (Box Office Manager), and Germar Townsend (Production Manager)
PRODUCED BY Randy Baker and Jenny McConnell Frederick

SEE ALSO:
Rorschach Theatre to premiere immersive rock experience (news story, May 29, 2023)
Embrace curiosity. Rorschach Theatre’s ‘Dissonant City’ begins. (review by Rebecca Calkin, November 28, 2022)

The post Rorschach’s inventive ‘Dissonant City’ to culminate with ‘Angel Number Nine’ appeared first on DC Theater Arts.

Note: Rorschach Theatre’s Dissonant City: A Psychogeographies Project is a season-long experience across multiple locations in Washington, DC. Subscribers receive seven monthly boxes, each of which reveals a new location and a new chapter in the ongoing story. This review includes spoilers for Chapter One.

It’s an exciting premise: a mysterious box appears at your home. Contained in the box are artifacts and objects that give hints to a larger story, as well as an address and invitation to explore an unknown location. Travel to that location and follow instructions in the box to go on a journey of the mind and body that promises to “dive into more than a century of DC music and find out just what it means to be immortal.”

In Chapter One of Dissonant City: A Psychogeographies Project, the music explored is by John Phillip Sousa and the mystery location is Congressional Cemetery.

First, you receive the small cardboard box in the mail. Upon opening, the first object you encounter is a guidebook detailing where to go, relevant information (address, directions, parking/transportation, accessibility), a map, actions to take upon arrival, tips for making the most of your experience, a suggested soundtrack, and other things to explore. There is also a small sealed packet, meant to be opened on-site.

For those who choose not to travel, an at-home experience option is provided. This includes a link to a YouTube video that moves through the location and shows all of the marked destinations. While the video does showcase each highlighted space on the map, the experience can only reach its true potential in person.

I arrived at the Congressional Cemetery just before noon on a beautiful temperate autumn day. The slight chill in the air coupled with the imposing gate and aura of the cemetery set the right mood for an experience that was thoughtful and reverent while also being adventurous and stimulating.

At the first location on the map, John Phillip Sousa’s grave, you are prompted to open the sealed packet, explore the objects in the box, and listen to some of Sousa’s most famous marches. Through the objects, a loose story is revealed. One object reveals a lost soul writing words that went unsaid, with a particular relevance to Sousa’s grave. The other delves into the mythological realm — pairing details from Sousa’s own novella with the grand scale of Greek and Roman myth — and gives added context to the locations soon-to-be-encountered on the map. Starting with this moment of introspection, reading, and calm set the tone for the journey ahead.

The locations on the map were thoughtfully chosen to show comparisons and contradictions, highlight gravesites and memorials from controversial or historically marginalized figures, and feel relevant to the objects from the box. For instance, the 9/11 healing pole, carved by a master carver of the Lummi Nation, represents both healing after a national tragedy as well as a remembrance for tribe members who died in Washington DC while negotiating treaties or conducting business with the U.S. Government.

One of the highlights of the guided tour was a selection of LGBTQ+ graves, those brave enough to be themselves and love openly in more dangerous times for queer folks. Juxtaposing this was the nearby fenced-in gravesite of J. Edgar Hoover, a man with a complicated legacy, who used his FBI to oppress, surveil, arrest, and threaten the lives of Black, LGBTQ+, and pro-civil rights activists and artists.

This show didn’t quite live up to the promise of illuminating DC’s music scene, but it did lean in to the “psychogeography” in the title. It engaged all five senses and facilitated discoveries in a place with the heft of history (and a dash of the occult). The cemetery had a distinct soul and aesthetic, and Rorschach Theatre’s guide gave license to uncover the hidden and forgotten.

Dissonant City provokes us to slow down, wander, explore, and take another look at the world around us with fresh eyes and see new intersections, interactions, and comparisons. While raising questions about legacy and tradition, it is left open to the audience to come to their own answers. Does the meaning behind viewing a grave of a Native American chief change when the neighboring prison is in full view? Does stopping at a monument shaped like an accordion feel different after visiting the grave and hearing the music of Sousa? Why are some remembered and who are we leaving out?

The Congressional Cemetery itself is a blend of the old and new, with graves from the 1800s and 2020s side-by-side — a detail that I perhaps noticed and appreciated more keenly because of visiting this location through the lens of Dissonant City. With or without the box, it is worth a visit, but the guidance from Rorschach Theatre made the visit deeper and more thought-provoking.

Ultimately, the box isn’t what’s powerful about this experience. The real strength of Dissonant City comes in taking the space and time to explore, be present in a space, embrace curiosity, and reflect.

Running Time: Experienced on your own time. Boxes are mailed monthly.

Dissonant City: A Psychogeographies Project will culminate with a live performance of Angel Number Nine in the summer of 2023. Participants can join at any time and will be sent the chapters they missed. Subscriptions for Dissonant City are $185 and are on sale now online. Each purchase includes seven boxes by mail and one ticket for the in-person summer performance. Additional tickets for the live performance will be available in spring 2023. (If you missed Rorschach’s two previous Psychogeographies Projects, Chemical Exile and Distance Frequencies, each is still available to purchase for $89. For more information and a link to FAQs go to rorschachtheatre.com/dissonant-city/

CREATED BY Kylos Brannon, Adam Ferguson, Jenny McConnell Frederick, Navi, and Jonelle Walker

SEE ALSO:
Rorschach Theatre’s immersive ‘Chemical Exile’ is a night full of wonder (review by Ajani Jones, July 18, 2022)
Rorschach’s enchanting ‘Distance Frequencies’ ends in beauty and love
(review by Kendall Mostafavi, July 29, 2021)

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Earlier this year, a big surprise shook the Grammy Awards — the winner of Best Musical Theater Album wasn’t Andrew Lloyd Webber, Burt Bacharach, Bob Dylan, or Stephen Schwartz (all of whom were nominated). Instead, a concept album that debuted on TikTok, created by two young women and fans of the show Bridgerton on Netflix, took home the big award.

Not long after that Grammy win, Barlow & Bear (the duo who wrote the songs and starred in the TikTok videos) began work on taking the sensation of The Unofficial Bridgerton Musical and translating it to this concert version with the National Symphony Orchestra and a cavalcade of Broadway singers. According to the duo, they created and put on this performance in only eight weeks.

The incredibly enthusiastic sold-out crowd, largely Gen Z and Millennial folks, raucously cheered for every song and high note. It was the warmest possible reception for the musical’s first-ever live concert performance.

Throughout the evening, Barlow & Bear provided lively and charming banter about the songs, performers, and their overall amazement at the short journey from making music in their living rooms to performing at the Kennedy Center. Abigail Barlow herself sang the role of Daphne Bridgerton while Emily Bear performed as Penelope Featherington and at the piano, both to the absolute delight of their fans in the audience.

However, the jewels of the evening were the titans of musical theater who brought the work to life.

Barlow’s songs with Ephraim Sykes as Simon Basset were packed with the chemistry that made the show a hit, as well as a beautiful musical blend. Sykes’ smooth voice fit perfectly with the role of the Duke of Hastings, showcasing the deep passion and pain of the character. “Alone Together” was a standout, with Sykes’ and Barlow’s voices commingling like the lovers themselves, punctuated by the heavy heartbeat created by the steady drum. “Burn for You,” another duet, was a clear crowd favorite (and the video I recalled seeing most on TikTok myself), garnering thunderous applause.

Micaela Diamond charmed as Eloise Bridgerton, bringing comic relief through the songs closest to the traditional musical theater wheelhouse — particularly “If I Were a Man.” A surprise tap dance by Diamond and Barlow amped up the fun and captivated the audience.

“Entertain Me” with Emmy Raver-Lampman as the Queen was a showstopper. Raver-Lampman’s almost-operatic vocals, coupled with acting that showcased the Queen’s range of emotions, made this number a high point of the show.

Darlesia Cearcy as Lady Danbury was a standout, bringing the house down at the end of “The Ruse.” She was also featured alongside Rebecca Eichenberger as Lady Featherington and the absolutely dynamite Kelly O’Hara as Viscountess Bridgerton in the exceptional “Balancing the Scales.” Hearing O’Hara was a real treat, and the trio of women made this one of the highlights of the night.

My favorite song was a new one, titled “Secrets, Secrets,” centering the immense talent of Denée Benton. The number evolved into a quintet with Barlow and Sykes, as well as Jason Gotay as Anthony Bridgerton and Solea Pfeiffer as Sienna. This piece had the best vocal blend of the evening, providing Broadway-worthy lush harmonies, lovely orchestration, and piano by Emily Bear that perfectly punctuated the moment.

Bear’s piano work throughout the entire performance was lovely, supporting the vocals and showcasing her clear instrumental talent in every song. The music itself fit well with a full orchestra, though I was expecting to feel more of the power in having the strength of the National Symphony Orchestra on these songs. That said, the NSO was a joy to hear, particularly in the Overture, and may have made some new young fans.

There were just a few missteps. With incredibly strong belters (such as in the extended version of “Fool for You” with Gotay and Pfeiffer), it sometimes felt as though the singers were competing to be heard rather than blending well, often overpowering the instrumentation. The full group numbers were also a bit muddled, less tight than the album version and hard on the ear to discern

The performance was short, running about 75 minutes or so, and I was left wanting to hear more (what a tease to get only 3 minutes of vocals from O’Hara, Benton, and Raver-Lampman!). The vocal talents on display were exceptional, though I couldn’t help but wonder how much more entertaining it would have been if the songs were written to fit the wider variety of vocal ranges on display, so the superstar vocalists could have truly displayed their chops. That said, the night at the Kennedy Center for The Unofficial Bridgerton Musical was a blast for this audience, filled with folks who followed the musical as it evolved on TikTok and were overjoyed to see it come to life.

Running Time: Approximately 75 minutes, with no intermission.

Barlow and Bear’s The Unofficial Bridgerton Musical Album Live in Concert played July 26, 2022, in the Kennedy Center Concert Hall – 2700 F Street NW, Washington, DC.

The program for The Unofficial Bridgerton Musical is online here.

COVID Safety: Masks are required for all patrons inside all theaters during performances at the Kennedy Center unless actively eating or drinking. Kennedy Center’s complete COVID Safety Plan is here.

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In the hours before Salvador Allende, the man democratically elected as President of Chile in 1970, died, what was going through his head? Knowing that his friends and appointed leaders — including General Pinochet — turned on him in a U.S.-backed coup, how did he feel in those final hours before his death?

Taking a page from Katori Hall’s The Mountaintop, September 11, 1973… imagines those last hours, with the enigmatic and mysterious Agent D (Rich Tanenbaum) probing Allende (Dan Owen) for his thoughts and feelings. Luigi Laraia’s enthralling script blends the real words of Allende’s final public addresses with retellings of true events and imagined stories.

Allende reminisces about his past and present loves, background as a physician, fellow revolutionaries (like Guevara and Castro), chess, and socialism — all while the sound of gunfire and bombs creeps closer and closer. We get occasional respite from the war sounds with a beautiful guitar soundtrack that punctuates Allende’s memories and reflections.

With only three days of in-person rehearsals, Tanenbaum and Owen were still able to build remarkable chemistry. The cool, calm Agent D is an effective foil to the fiery, passionate Allende in the metaphoric chess game that these men play.

Owen’s performance as Allende impresses, making the audience truly feel a glimpse into the man’s psyche and feel the high stakes. He effectively plays a man with a passion for his people, the women in his life, and the causes that he believes will change the world.

It helps to have a bit of historical knowledge to truly enjoy this piece, but even those without a deep knowledge of this era will still be moved by this portrait of a man in crisis, inching toward finally accepting his tragic fate.

Running Time: 60 minutes, no intermission.

September 11, 1973: The Day Salvador Allende Died has three more performances, on July 21, 23, and 24, 2022, at 23rd Amendment – Formerly Washington Sports Club, 3270 M St. NW, Washington, DC. To see the performance schedule and purchase tickets ($15), go online.

COVID Safety: The audience is to remain masked for the show. The mask needs to cover your mouth and nose the whole time. Proof of vaccination and ID are checked before entry.

Genre: Drama
Age appropriateness: 13+

Luigi Laraia – Playwright
Pablo Andrade – Director
Dan Owen – President Salvador Allende
Richard Tanenbaum – Agent D
Zeon Riley – Sound and Lighting
Mike Gohacki (of the band Votive Crown) – composer

SEE ALSO: 2022 Capital Fringe Preview: ‘The Day Salvador Allende Died’ by Luigi Laraia

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Blanco/Blanca (Edwin Bernal), a former seminarian now living life in the U.S. as an immigration lawyer, bar owner, and drag queen, exchanged his rosary for tacones (high heels). That life is upset by two visitors in the same day: Chacho (Sid Garg), seeking help finding his missing lover Carlos, and La Migra (Immigration Enforcement). As Blanca and Chacho sit in a holding cell at an Immigration Detention Center, they discover more about each other’s pasts and pain.

From the program note, we learn that Tacones is loosely based on the kidnapping, torture, and killings of hundreds of Honduran citizens by Battalion 3-16, a military unit trained by the CIA. As details of this torture are disclosed, particularly of queer people, we wonder if a similar fate has befallen Carlos. Instead, there is a surprising twist, revealing more about Chacho and uncovering his quest for absolution.The performance took a while to come together. For the first 20 minutes, I felt a bit lost as I tried to grasp who the characters were and their motivations. The acting and direction occasionally felt forced and some secondary character moments seemed superfluous.

However, the latter half of the show paid off and gave each cast member an opportunity to shine. In particular, a stirring and heartbreaking monologue from Blanca about the pain experienced while being tortured and losing the man he loved was exceptional.

Tacones starts off clunky and has some moments that don’t fully land, but ends up being worth it — a powerful, heart-wrenching, and special story that leaves the audience thinking and wanting to learn more about real-world U.S.-backed atrocities in Latin America.

Running Time: 70 minutes, no intermission.

Tacones (Rhymes with Cojones) has two more performances, on July 23 and 24, 2022, at 3 Stars – Formerly DSW Georgetown, 3270 M St. NW, Washington, DC. To see the performance schedule and purchase tickets ($15), go online.

COVID Safety: The audience is to remain masked for the show. The mask needs to cover your mouth and nose the whole time. Proof of vaccination and ID are checked before entry.

Genre: Drama
Age appropriateness: 13+

Cristina Garcia – Producer/Playwright
Mediombo Singo Fofana – Director
Sally Roffman – Assistant Director
Jhackye Garcia – Stage Manager

Edwin Bernal – Blanco/Blanca
Pedro Biaggi – Radio Announcer
Nick Byron – Mr. Bill & La Migra
Sid Garg – Chacho / Gilliermo / Billy
Valerie Guillamo – waitress & Aida & mother

The post 2022 Capital Fringe Review: ‘Tacones (Rhymes with Cojones)’ by M. Cristina Garcia appeared first on DC Theater Arts.

Interactive theater can sometimes feel uncomfortable or awkward for the audience. Having actors embedded in the audience or directly asking you questions during the show can make some recoil. But with the anonymity of the internet and the common language of memes, the immersive experience of Flying V’s .DOCS was instead empowering and delightful.

.DOCS examines online fandom culture and how those communities can sometimes be toxic, hijacked, and/or co-opted for personal gain. The show’s creative team and performers create a space for the audience that is at times laugh-out-loud funny and at others prompts an examination of morality and the human cost of taking down the real monsters in our world.

The entire performance is accessed virtually through online chat on Discord (an instant messaging social platform commonly associated with gamers and nerd culture), as well as through a few e-mails, text messages, and Google Docs. E-mailed welcome documents and guidelines helped set expectations — I knew in advance that I’d need to set up an account on Discord, read a few one-pagers about some of the most famous kaiju (giant monsters), Godzilla and Mothra, and be ready (if desired) to create memes about these figures.

A few hours before the showtime, access to the production’s Discord server is open. Audience members can log on and view helpful channels like #welcome-and-rules and #resources, which guide the experience, and spend time familiarizing themselves with the platform. Another pre-populated channel provided some backstory: “GojiSkyLander” (deviser Tristan Willis) and “STOMPtimus Prime” (deviser Erik Whitworth) are the leaders of the “Kaiju Kickback” group, a community for fans of Japanese giant monster films; and they began this Discord server to host the group’s meme battle.

At showtime, a new channel appears on Discord and audience members click in to start the experience. .DOCS begins as a friendly group chat about kaiju, with the actors and audience members free to type in messages and role-play as members of the group. Goji and STOMP then break the audience into two groups, Team Mothra and Team Godzilla, to create memes that hype up their chosen creature.

As someone with only a passing familiarity and interest in giant monsters, I expected to be a lurker and observe the action. Instead, the vibrant and active group made me feel compelled to join in, googling “funny Godzilla memes” to share, reacting to other messages with show-specific custom emojis, and even creating a few memes of my own with the provided templates and meme-generator site.

The show takes a turn in the second act, with a twist in the story leading to a puzzle to solve. As an avid escape-room fan, I found this delightful. My group’s puzzle was set at the perfect level of complexity to solve with online strangers, with the team coming together effectively to find the solution.

As the audience tries to solve the mystery of who sent the puzzle, the show takes another big twist leading into the final act. This changed the nature of the group discussion, with audience members authentically role-playing and actively discussing the merits (and lack thereof) of the high-stakes situation. While the exact situation is imagined, the crux of it involves a real-world crisis facing a segment of the U.S. population, making it feel significant.

The performance ends with a beautiful moment between the two leads — a well-choreographed dance of real-time text edits and cursor movements in a Google Doc that smartly shows the evolution of each character. Even with no spoken dialogue or audio in the entire experience, you can feel the emotional impact through the speed of typing, the rate of deleting text, and the way the words are presented.

Overall, the show could have benefitted from a bit more character development, further fleshing out the relationship and history of the two main characters, and the reasons behind the big reveal in the final act. And while some of the moments of jumping from one medium to another were a bit hard to follow, even with these hiccups, .DOCS created an immersive world that was very true to internet subcultures — and that was fun to be a part of.

Audience participation was core to the experience and worked surprisingly well thanks to the planning and flexibility of the cast and creative team. They created an environment that made it safe and fun to engage. Adding to the safety of the experience, there was a channel available (aptly called “4th Wall”) for audience members to ask meta questions about the experience or to take a break with the show’s trauma-informed experience manager.

Those who haven’t used Discord before should be able to catch on pretty quickly, provided that they have experience with messaging programs (like Slack or Microsoft Teams) or sites that host fan communities (like Reddit). The encounter also counts on the audience having knowledge of memes and internet slang; you’d need that background to get one of my favorite lines thrown out by a fellow audience member, “The real kaiju was the memes we made along the way.”

Even after spending all day on my computer for work, .DOCS provided a fun, powerful, and highly immersive experience worth extending my screen time.

Running Time: One hour 40 minutes.

.DOCS plays online Sunday, June 26, 2022, at 2:30 pm; Monday, June 27, at 7:30 pm; and Wednesday, June 29, at 7:30 pm presented by Flying V. Purchase your ticket ($25) online at least 48 hours before a performance — you’ll then be emailed access instructions and show materials to enhance the live digital experience.

CAST AND CREATIVE TEAM
navi (he/they) – deviser, director, showrunner
Jonelle Walker (she/her) – deviser, writer
Tristan B Willis (they/them) – deviser, performer
Erik “Rikki” Whitworth (he/they) – deviser, performer
Deb Sivigny (she/her)- deviser, content designer
Kyra Corradin (she/her) – deviser, game designer
Mel Bieler (she/her)- deviser, framing designer
Rae Pendergrass (they/she) – operations manager
Emma Kaywin (they/them) – trauma-informed experience manager
Alika Codispoti (she/her) – associate producer, flying v
Katherine Offutt (she/her) – executive director, flying v

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