One thing was clear at a recent performance of Dance Nation at Silver Spring Stage: you can leave the world of competitive dance, but it never really leaves you. Clare Barron’s play, directed by Lee Blaser and produced by Liz Butterworth and Jim Robertson, skewers the dance world, while also exploring the often fraught, confusing, yet empowering and exciting path from childhood to adulthood for girls in particular. It immediately transported me, a former competitive dancer, to a very specific time in my life, and I enjoyed the chance to reminisce while watching this unique and entertaining play.

Set in today’s world, the play follows a group of girls (and a token boy — which is one of many aspects of the play that is spot-on) who are part of a competitive dance team as they prepare for and embark on a series of competitions. The dance number they learn and perform is an “acro-lyrical” piece (about Gandhi!) choreographed by their artistic and dramatic leader “Dance Teacher Pat,” who, like so many dance teachers I’ve encountered, takes the craft uber-seriously and expects the girls to do the same, 100 percent of the time. Anderson Wells as Pat commands the stage and his portrayal is both hilarious and eerily accurate. One impressive aspect of this production is that accuracy, which shows up in ways both big and small, well-known (the stereotypical over-involved mom) and more niche (the satiny, matching jackets the dancers wear, and the silly games the dancers play before class and backstage at the competitions). These adult performers inhabit and exemplify the 13-year-old presence, from the casual and intimate ways they play with each other’s hair and bodies while waiting for class to the awkward attempts to talk about love, sex, and friendship with each other

The majority of the play’s action takes place before or after class, or before or after a competition, and it is in those moments that playwright Barron’s message is communicated. In the middle of many scenes, various actors take turns sharing stirring monologues that give us raw, sometimes uncomfortable glimpses into their inner thoughts, feelings, neuroses, and pain. Ashlee, played by the vivacious and hilarious Boneza Valdez Hanchok, is both afraid and in awe of her own beauty and intellect but eventually decides to own her looks and the power she feels it brings her. Zuzu, played by the graceful and talented Sia Li Wright, struggles with self-doubt and what she perceives as her inability to make anyone who watches her dance “feel something.”

The plot pits Zuzu against her friend and teammate Amina, the other top dancer of the group. Amina, played with a perfect balance of confidence and faux-modesty by Carlotta Capuano, is a familiar and recognizable character to anyone who has spent time in dance classes and competitions. She loves the spotlight and has the talent to grab it, and also has the motivation to work hard and do what it takes to win, which she does in one key scene toward the end of the play. While ostensibly we should be wondering whether the team will win enough to make it to Tampa Bay (the location of the ultimate competition), the real conflict and interest in the story lies in the relationships between the girls (and one boy!) and their relationships with themselves.

Tristin Evans turned in a strong performance as Sofia, another dancer on the team. Sofia grapples with getting her first period and the initially appalling suggestion by her mother to “just look at it” to help her learn to put in a tampon. When she finally gets the courage to look, it empowers her and she cannot believe how beautiful it is. Audience members had a chance to take a kit from “The Growing Girls Project,” which started as a PhD dissertation by Dr. Ann Herbert at the Johns Hopkins Bloomberg School of Public Health. The kit, aimed at people ages 8 to 16, includes an activity book and a self-exploration mirror to “equip girls with tools to understand, connect with, appreciate, and respect their changing selves and bodies as they go through puberty.”

So many of the Dance Nation’s elements contributed to this raw and intimate production. Choreographers Michelle Norris and Tristin Evans made the dance scenes feel appropriate, while the minimalist but still immersive set design by Jeffrey Asjes worked perfectly with the lighting design by Jordan Hersh to take the audience from dance studio to “riding in mom’s car in the rain.” The costume design, props, makeup, and hair, all designed by McKenna Kelly, were so on point that I could have sworn she raided my old dance studio’s closet.

This play is made up of both laugh-out-loud moments full of satire that anyone who’s set foot in a dance studio will appreciate, and also at times almost excruciatingly intimate moments like masturbation, self-harm, first menstruation, and more. It is a show that purposely makes you cringe at these vignettes of puberty but also forces you to wonder what things might have been like then, or might be like in the future, if our society encourages bodily understanding and compassion as opposed to shame and mystery. Dance Nation seems to posit that we might become unstoppable and full of freedom.

Running Time: One hour and 40 minutes with no intermission.

Dance Nation plays through March 24, 2024 (Fridays and Saturdays at 8 pm, and Sundays at 2 pm), at Silver Spring Stage, 10145 Colesville Road, Silver Spring, MD. Purchase tickets ($23.25–$26.25 including fees) at the door or online. For more information call (301) 593-6036, visit the website, or email contact@ssstage.org.

This show contains sexual themes, frequent coarse language, partial nudity, depictions of masturbation, abuse, and injury, and themes related to racism and stereotyping/tokenization in dance performance, suicide, and self-harm.

COVID Safety: Masks are encouraged but not required.

Dance Nation
By Clare Barron
Directed by Lee Blaser

CAST
Amina – Carlotta Capuano
Zuzu – Sia Li Wright
Ashlee – Boneza Valdez Hanchock
Connie – Leena Dev
Sofia – Tristin Evans
Maeve – Allison Turkel
Luke – Brandon Rothenberg
Dance Teacher Pat – Anderson Wells
The Moms/Vanessa – Jordan Coscia
The Moms/Vanessa – Rachel Manteuffel

Understudies/Swings
Trenor Gould (Dance Teacher Pat, Luke)
Nadine Pineda (Zuzu, Ashlee, Sofia)

Fight/Intimacy Direction by Julia Rabson Harris; Composition by Kristin Cotts; Stage Management by David Gorsline; Carpentry by Douglas Becker, Steve Leshin, and Steven Malone; Sound Design by Jeff Goldgeier.

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As The Other Side returns to the Kennedy Center Family Theater from January 13 to 14, 2024, we republish Sarah Shah’s glowing review of the world premiere.

Originally published April 26, 2022

It’s not often you see a children’s book transformed into a contemporary dance piece, but that’s exactly what Choreographer Hope Boykin has done with The Other Side written by Jacqueline Woodson and illustrated by E. B. Lewis. The result for the Family Theater audience at Kennedy Center is an intriguing and uplifting experience.

The Other Side defies categorization. The work feels like a modern dance performance, but there are bits of dialogue. It is not a play, but there is narration by a youthful voice (Lay’la K. Rogers).

The story centers on two young girls, Clover (Dejah Poole) and Annie Paul (Tara Bellardini), who live on opposite sides of a fence, the focal point of Joseph Gaito’s set design. Both have mothers who have warned them not to go to the other side, and the girls, the epitome of innocence and naivete, do not understand why. The reason is implied: Clover is Black and Annie Paul is white, and they live in a segregated community.

We as audience members are asked to glean some of the narrative details by interpreting the unique, rhythmic, gorgeous movements of the dancers. Some of the choreography is literal, where the dancers are playing hand-clapping games or skipping rope, but much of it is abstract, which was entrancing to watch but may have gone over the heads of the youngest audience members. The program says The Other Side is recommended for ages five and up, but I’d say eight and up is a more appropriate age to enjoy and appreciate this show.

The technique of all five dancers is strong, and the ensemble dancers — Kendall Dennis, Deirdre Dunkin, and Cameron Harris — provide laughs as their sass radiates strongly from the stage. There are movement motifs that recur throughout the show, and I suspect some young audience members might attempt to replicate them in their living rooms when they return home, or perhaps on their way to the parking lot.

The music, an original score by Ali Jackson, is a mixture of instrumentals and rhythmic beats and allows the dancing to remain the focus. Boykin is a dancer and choreographer with Alvin Ailey, along with Philadanco and her own Hope Boykin Dance, and there are many beautiful jumps, turns, contractions, and hand motions synonymous with this distinctive, precise, and exuberant dance style.

The Other Side comes especially alive when Clover and her friends eventually (after some disagreement on whether or not to) allow Annie to come join them. The five young women electrify the stage as they dance together; it is impossible not to feel called to join in on their fun and games. And that, perhaps, is a part of the message of The Other Side: we are all better when we find ways to come together and learn from one another.

Running Time: 45 minutes, no intermission.

Most enjoyed by ages 5+.

The Other Side plays from January 13 to 14, 2024, at the Kennedy Center’s Family Theater – 2700 F St. NW in Washington, DC. For tickets ($20), call the box office at 202-467-4600, or purchase them online.

The program for The Other Side is online here.

COVID Safety: Masks are optional in all Kennedy Center spaces for visitors and staff. If you prefer to wear a mask, you are welcome to do so. See Kennedy Center’s complete COVID Safety Plan here.

Lighting Design by Al Crawford; Assistant Choreography by Amina Lydia Vargas; Costume Design by Mark Eric.

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It’s hard to describe the pleasant mixture of nostalgia and pride involved in watching a childhood favorite book series, Frog and Toad by Arnold Lobel, come to life in Imagination Stage’s production of A Year of Frog and Toad while also watching your own offspring’s delight and wonder at this absolute gem. Ashleigh King masterfully directed and choreographed this musical, which showcases Imagination Stage at its best: children’s theater that is the opposite of “dumbed down.” It’s elegant and dignified while still being full of laughs and spark that keep kids engaged and entranced. The peals of laughter emanating from the audience serve as the perfect proof of the show’s success.

The entire show is as cozy as the vintage knit blanket that makes an appearance toward the end of the 65-minute production. A Year with Frog and Toad feels cohesive and aesthetically pleasing thanks in part to expert scenic design by Sarah Beth Hall and costume design by Debra Kim Sivigny. The beautiful muted colors (think shades of rust, sage, warm yellow, sky blue) contribute to the tone of the show, in perfect harmony with Sivigny’s mostly simple yet unique and effective costumes.

Willie Reale (book and lyrics) and Robert Reale (music) have concocted songs that feel like a tribute to the golden age of musical theater: a little ragtime here, a little jazz there. Under the guidance of music director Deborah Jacobson, the songs are evocative of shows like Kiss Me Kate and even Annie Get Your Gun or Oklahoma!; the character Snail, played by Karen Vincent, sings a song called “A Letter” that feels a little twangy, in a good way. Vincent’s vocals really stood out in this performance.

The two stars of the show, of course, are Frog, played by the charismatic and energetic Deimoni Brewington, and Toad, played by Evan Casey, who nailed the anxious, dour, but still lovable amphibian. In songs like “A Year with Frog and Toad,” “Spring,” and “Happy on a Rock,” they are the two perfect gentlemen—er, gentlefrogs, with their manners and dapper spats on display, and their strong bond of friendship always front and center.

A standout number was “Marvelous Cookies” where, just as it should be in musical theater, the characters suddenly burst into song about the struggle to maintain willpower around fresh-baked cookies. It was a relatable, humorous, and delightful scene to watch.

In “He’ll Never Know,” Brewington and Casey sing in beautiful harmony, and engage in some pseudo tap-dancing; my one wish is that there had been actual taps on their shoes! A Year with Frog and Toad’s pacing is also well done. Though Frog and Toad are naturally the focus and are on stage much of the time, the production is interlaced with interludes from the three Birds (played in the performance I saw by an ebullient Sydney Dionne, Stephen Russel Murray, and Karen Vincent) and the aforementioned Snail, who pops up in various locations in the audience itself, an element that is always a crowd-pleaser for young theatergoers.

If you are looking for an entertaining way to spend some time with your 5- to 8-year-old child (and your own inner one) this season, get thee to Imagination Stage. Your kids may even learn some new vocabulary: I heard the words brisk, peckish, leisurely, peril, and magnanimous bandied about, just to name a few. I personally would love to go back and spend another year with A Year with Frog and Toad!

Running Time: 65 minutes, no intermission.

A Year with Frog and Toad plays through January 7, 2024, at Imagination Stage – 4908 Auburn Ave., Bethesda, MD. Shows for the general public are on Saturdays and Sundays at 10:00 and 1:00. Tickets ($12 and up) may be purchased online, in person at Imagination Stage’s box office, or by phone at 301-280-1660. Group rates are available for parties of 10+.

The program for A Year with Frog and Toad is online here.

Best for ages 4+

COVID Safety: Masks are optional. 

A Year with Frog and Toad
Based on the books by Arnold Lobel
Book and lyrics by Willie Reale
Music by Robert Reale
Directed by Ashleigh King

Lighting Design by Alberto Segarras; Sound Design by Justin Schmitz; Props Design by Andrea “Dre” Moore; Stage Management by Samantha Leahan.

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Alternating between sad and touching and brash and silly, 2nd Star Productions’ Matilda the Musical inspires viewers to give themselves “permission to shine” and to be a little bit naughty, but only when standing up to a bully, of course. Matilda the Musical is based on the beloved story by Roald Dahl. The musical’s book is by Dennis Kelly with music and lyrics by Tim Minchin. 2nd Star Director Angela Germanos gives us a production filled with talented children and exceptional adult performances as well. Produced by Katie Riegel and Laura Fisher, the whole musical is presented with a sort of twinkle in its eye, not taking itself too seriously and allowing the audience to truly relax and enjoy the show.

Before the first act even begins, the house rules are read to the audience as if we are being scolded by a disapproving headmistress, alluding to the unrelenting disdain to come. The first act’s musical highlights include “Miracle,” where we learn how unwanted Matilda is from birth, “Naughty,” and “The Hammer,” where we meet the most Trunchbully that ever Trunchbulled — Meg Nemeth as Agatha Trunchbull, the headmistress of Matilda’s school. I could not get over Nemeth’s performance; she played Trunchbull with the perfect haughty intensity every second she was on stage.

Trevor Greenfield as Mr. Wormwood (Matilda’s father, who continuously and hilariously calls her a boy throughout much of the musical) is a riot, Malarie Zeeks as Mrs. Wormwood (Matilda’s mother, who was annoyed at the birth of Matilda because it caused her to miss her ballroom dance competition) is pitch-perfectly gaudy yet lovable, and Tonya Mayo showcased a beautiful singing voice as Miss Honey (Matilda’s teacher).

One disappointment for me and other members of the audience at the performance I attended was that the actors’ voices were at times difficult to hear. On the plus side, there is a fantastic live orchestra in the pit, and their jazzy interludes helped entertain the audience during the many set changes throughout the production. Another adult performance worth mentioning is Eric Meadows as the Doctor in Act One and Sergei in Act Two. His melodious vocal performance and impeccable comedic timing added much to the performance.

Act One wraps up with “Bruce,” featuring scene-stealer Solomon Howley-Paoletti as the boy who snuck a piece of Ms. Trunchbull’s chocolate cake. Howley-Paoletti’s joy in performing was evident in this number and the rest of the show.

After intermission, Greenfield as Mr. Wormwood brilliantly re-warms up the audience with some direct interaction and humor, leading right into “All I Know.” Grace Gavin, who played Matilda in the performance I attended (Tabitha Popernack plays the role at alternating performances), had also warmed up by this point. She turned in a stellar performance of “Quiet,” one of the most poignant songs in the show. I should also mention that the costuming was immersive and on point, thanks to the design by Michelle Hickman. In this act, we get much more of the story-within-the-story that began in Act One, and the emotions run high as we hurtle toward the conclusion of the musical. Just as Ms. Phelps, the librarian (played by Heather Norden) had hoped for Matilda’s story to have a happy ending, Matilda the Musical ends happily and we audience members left smiling and maybe feeling a little bit naughty, too.

Running Time: Two hours and 40 minutes, including a 15-minute intermission.

Matilda the Musical plays through October 14, 2023, presented by 2nd Star Productions performing at The Bowie Playhouse – 16500 White Marsh Pk Dr in Bowie, MD. For tickets ($25 general admission; $22 for seniors 60+, active military, and students; $15 for children under 12), buy them at the door, or purchase them online.

The program for Matilda is online here.

COVID Safety: Masks are required only on October 8.

Music Direction by Sarah Mitchell; Orchestra Music Direction by Joseph Simon; Stage Management by Kristi Gardner; Assistant Direction by Diane Schwartz; Choreography by Rosslyn Burrs; Properties Design by Angela Germanos and Diane Heath; Set Design and Painting by Angela Germanos and Jane B. Wingard; Assistant Choreography by Andrea Trent; Special Effects Design and Construction by Gene Valendo; Assistant Stage Management by Sally Dodson; Lighting Design by Bowie Playhouse Staff.

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If you’ve never had a hankering for purple pancakes before, you and your children certainly will after catching Nate the Great at Imagination Stage! Tyler Dobies makes a fantastic Nate, a sort of junior Sherlock Holmes (imagine Benedict Cumberbatch as Sherlock as a 9-year-old and you get the idea) who is a bit of an oddball (with an affinity for pancakes) and who takes his sleuthing seriously. Nate the Great is based on the first of a series of books by Marjorie Sharmat.

Of the many songs in the musical, with book and lyrics by John Maclay and music and lyrics by Brett Ryback, the first few stand out for their originality and catchiness. The opening number sets the tone for the show, which is full of dry humor, wordplay, and witty banter in the dialogue. “Dear Mom” really showcases Dobies’ vocal talent as he sets off to solve a mystery—which eventually turns into two mysteries—as the show progresses. Early on in Nate the Great we also meet Annie, played by Kalen Robinson, whom audiences may remember from The Hula Hoopin’ Queen. She’s just as delightful to watch as ever as Nate’s good friend and client of the moment.

Aspects of the show that stood out for my fellow theatergoers (a 6-year-old, a new father, and a grandmother) were the set design by Andrew Cohen, the sound design by Gordon Nimmo Smith, and the lighting design by Alberto Segarra. These elements worked together seamlessly and added to the excitement and engagement of the production. (Though a sign outside notes that haze and fog will be used, we did not notice either in the performance we attended.)

There are also some memorable puppets in Nate the Great, thanks to Props and Puppet Designer Andrea “Dre” Moore. One was Fang, an impressively large dog with an expressive face, managed expertly by two visible actors, and part of a fun number called “The Fang Tango.” There’s also a cadre of black cat puppets who belong to a delightful character named Rosamond, played brilliantly by Lily Burka giving Wednesday Addams vibes.

When Nate feels like he has failed at being a detective and is in a slump (figuratively and literally as he spends an entire song slumped on the couch), his friends boost him up, and in the final number, the message is driven home: good friends (and pancakes) can help you when you doubt yourself!

Now, can anyone tell me where I can find purple pancakes in the Bethesda area? I would highly recommend going out for pancakes, no matter the color, after you take in this fun production at Imagination Stage this summer.

Running Time: 75 minutes, no intermission.

Nate the Great plays through August 11, 2023, at Imagination Stage, 4908 Auburn Avenue, Bethesda, MD. Purchase tickets ($25–$39) online.

Best for ages 5 to 11.

The program for Nate the Great is online here.

COVID Safety: Audience members are strongly encouraged to wear masks while in Imagination Stage theaters. Masks are not required. The venue’s complete Health and Safety Protocols are here.

Nate the Great
Books and Lyrics by John Maclay
Music and Lyrics by Brett Ryback
Based on the book by Marjorie Sharmat
Direction by Janet Stanford, Music Direction by Deborah Jackson, Choreography by Ashleigh King, Costume Design by Johnna Presby, Stage Management by Madolyn Friedman

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Something Rotten! from 2nd Star Productions, showing at the Bowie Playhouse through June 24, is a true treat for theater geeks; it’s full of uproarious laughs and inside jokes that were just what I needed after a long week of work. Directed by Alanna Kiewe and produced by Michael Mathes and Emily Mudd, this production showcases a range of talented local performers who made the three-hour journey back in time to the Renaissance a rollicking good time. The book for the show is by Kary Kirkpatrick and John O’Farrell, with music and lyrics by Wayne Kirkpatrick and Karey Kirkpatrick, and after the musical debuted on Broadway in 2015, it was nominated for 10 Tony awards and was on tour in the U.S. through 2019.

I personally have been wanting to see this show for a long time, so I grabbed the chance to see 2nd Star Productions’ version. I was not disappointed! The musical’s opening number, “Welcome to the Renaissance,” features the ensemble, with Ajaka McLemore in the spotlight as the Minstrel. Her beautiful belting was enjoyable, although it did seem to me that she was slightly uncomfortable in her costume. The Bowie Playhouse theater makes for an intimate experience, and its stage being on the smaller side, along with the effective set design by Michael Vincent, allows one to feel like the ensemble is made up of many more people than are actually present.

Once we’ve been welcomed to the Renaissance, the raunchy tone is set and the plot conflict introduced with “God, I Hate Shakespeare,” sung by Nathan Bowen as Nick Bottom. Nick is a struggling writer, or should I say, bard, who is fed up by the attention (not to mention money) his contemporary Will Shakespeare is getting. Bowen’s strong acting and singing are perfect for the role of the affable if slightly nebbish Nick. We are also introduced to Shylock (played by a hilarious Ellery Rhodes), a Jewish moneylender who only wants to be Bottom’s patron, despite local laws saying that Jewish people cannot do so.

Another standout performer in the show is Neva Keuroglian Sullivan as Bea, Nick’s spunky and supportive wife, whom we meet in “Right Hand Man.” I wanted to see more of her as soon as this number was over. I noted, here and throughout the performance, that occasionally the lyrics and words were difficult to hear over the glorious live orchestra.

The talent simply continues to pour out of this production, with Ryan Power absolutely nailing the Nostradamus role. As Nick becomes desperate to write a hit show, he seeks out Nostradamus’ nephew to help him see into the future and determine what the future of theater will be. Power is so entertaining to watch; his physicality and facial expressions combined with a clear and strong voice made “It’s a Musical” one of the best numbers in the production. Although laced throughout the entire show, it’s here that we get an astonishing amount of references to the musical theater world with a medley of so many shows (including Annie, Avenue Q, Newsies, Evita, Jesus Christ Superstar, Rent, and Seussical the Musical just to name a few).

In “Black Death,” we catch a glimpse of Bottom and his brother Nigel Bottom’s first foray into writing a musical, and the result is so purposely ridiculous that the entire audience was rolling with laughter on Friday night. The troupe (Brian Binney, Alex Campbell, Kieth Flores, Bryan Hargraves, and Davis Wootton-Klebanoff) along with Kyle Eshom’s Nigel are so endearing and fun to watch throughout this number and the entire show.

A secondary plot line in Something Rotten! is the star-crossed love story of Nigel Bottom and Portia, the daughter of magistrate and resident scary Puritan Brother Jeremiah. Aaron Vonderharr is spot on and yet somehow still lovable as this close-minded religious zealot. His daughter Portia, played sweetly by the effusive Marela Kay Minosa, is daddy’s little Puritan girl on the outside, but an avid poetry fan and passionate woman on the inside. She and Nigel fall in love as they sing the ballad “I Love the Way.”

It’s nearly the end of Act I when we finally meet the one and only William Shakespeare in “Will Power” as Portia and Nigel sneak off to a poetry reading (staged like a modern rock concert) in the park. Natolya Barber does such a convincing job playing Shakespeare as an obnoxious, overconfident man full of bravado and over-the-top swagger. She’s a college senior, and I’m eager to see where her career goes as she is clearly a talent to watch. This number has some of the best choreography and dancing of the show, thanks to the Bard Girls (Kristi Bennett, Rowan Campbell, I’ola Hall, Stephanie Ichniowski, Leigh K. Rawls, and Meridian Toalepai) and choreography by Kelsey Meiklejohn Bowen and Summer Moore. There’s also a tap battle in the final number of Act 1 (“Bottom’s Gonna Be on Top”), which was a joy to watch, although I noted some of the taps could have been crisper.

After intermission, Act 2 sees the conflict intensify as Will Shakespeare, disguised as “Toby Belch,” joins the cast of the newly reworked Bottom brothers’ musical, “Omelette” (a misstep caused by Nostradamus misunderstanding Hamlet in his vision). In my opinion, the plot is not intended to be the focus of this show, and so while it may be slightly hard to follow, it pays off for the humor and entertainment value. The second act is filled with reprises. Two songs that are not reprises stand out in this act: “It’s Hard to Be the Bard,” where Shakespeare and the Bard Girls strike again, and “We See the Light,” a great ensemble number with a gospel feel and a red glitter vest moment. I won’t spoil it by explaining whose moment it is.

I did also enjoy “Make an Omelette,” a number in the show-within-the show, for both the production value (dancing eggs!) and the sheer fact that the cast is clearly having so much fun on stage that it’s contagious!

I highly recommend this production to any self-professed theater geek. You’ll want to tap-dance out of the theater and belt out musical numbers the whole ride home, which is, I’m not ashamed to admit, exactly what I did.

Running Time: Two hours and 40 minutes, including a 15-minute intermission.

Something Rotten! plays through June 24, 2023, presented by 2nd Star Productions performing at The Bowie Playhouse, 16500 White Marsh Park Drive, Bowie, MD. For tickets ($25, general admission; $22 seniors active military, and students; $15, children under 12) buy them at the door, or purchase them online.

The program for Something Rotten! is online here.

Reviewer’s note: I would not recommend this show for children under 12 due to the content and adult humor.

COVID Safety: Audience members must remain masked while in the Playhouse (including during the performance). See 2nd Star Productions’ current COVID-19 policies here.

Something Rotten!
Book by Karey Kirkpatrick & John O’Farrell
Music & Lyrics by Wayne Kirkpatrick & Karey Kirkpatrick

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Fitting In, a unique and spunky original show written by Patrick W. Lord and Megan Thrift, with original music by Emily Erickson and production by navi, nails its mission of entertaining and inspiring curiosity in its young target audience. This magical show, produced by Arts on the Horizon, manages to capture and hold the attention of the littlest theatergoers, from ages 2 to 5.

The shrieks of laughter coming from the audience are proof of its success. Performers Emily Erickson, Pablo Guillen, and Graciela Rey were masterful in using their facial expressions, body language, and small noises to convey their thoughts and feelings clearly to the toddlers and preschoolers (and adult caregivers) watching their every move.

The show centers around three characters (the program describes them as siblings, yet I thought three friends) who find a series of boxes and trunks in a room (I imagined they were given access to an old attic), and we get to watch as they open boxes, discover a wide array of items (an old telephone, a shoe, an umbrella, lampshades), and use them in an exciting variety of fun and new ways. This show epitomizes the magic and importance of open-ended play. For the uninitiated, research has shown that open-ended play, specifically with what are known as “loose parts,” is beneficial and integral to children’s development. Loose parts are defined as “materials that are variable, meaning they can be used in more than one way so that children can then experiment and invent through play, and these materials can be natural or synthetic.”

This exact sort of curiosity, experimentation, and joy of discovery is ever present in Fitting In. The performers’ clear talent for movement and dance enhances the viewing experience and makes this a perfect introduction to both theater and dance performance for young ones. In addition, the use of physical comedy and clowning brings the silliness, humor, and laughter that kids adore. Lord, Thrift, and the entire creative team deeply understand their audience at its core, which is clear in every aspect of the performance. The elements all work together to inspire that sense of wonder, including the beautiful lighting design by Dean Leong.

During the show, the performers come into the audience and allow children to interact with some of the items; they are even invited to touch one of the props, to their delight and awe. It’s incredible how much is actually packed into the 30-minute production, including a couple little subtle reminders to take deep breaths when things get tense — something that all of us benefit from remembering from time to time. This short performance is truly ideal as it leaves one wanting more, and as a bonus, after the bows, children are invited to meet and take photographs with the performers. What a treat!

Running Time: 30 minutes, no intermission.
Best for children ages 2–5 and their families.

Fitting In presented by Arts on the Horizon will be performed for free at 1st Stage, 1524 Spring Hill Road Tysons, VA, on Friday, March 31 at 10:30 am; Saturday, April 1 at 10 am and 11:30 am; and Sunday, April 2 at 11 am.) Free tickets may be reserved online.

(Fitting In played March 10 to March 25, 2023, presented by Arts on the Horizon performing at the Theatre on the Run, 3700 S Four Mile Run Dr, Arlington, VA. Fitting In is also touring locally to Alexandria preschools, weekdays through March 28, 2023.)

The program for Fitting In is downloadable here (scroll down).

COVID Safety: All patrons, volunteers, and staff are required to be masked while inside the 1st Stage Theatre facility. See 1st Stage’s complete COVID Safety Information here.

Fitting In
Written by Patrick W. Lord and Megan Thrift
​Directed by Patrick W. Lord
Original Music Composed by Emily Erickson & Produced by navi

Costume Design, Jeanette Christensen; Puppet Design by Matthew Pauli; Props Artisan & AOTH Emerging Artist, Amber Smithers; Dramaturg, Natalie Cutcher; Stage Management by Kaitlyn Shifflett.

SEE ALSO:
‘A piece of my heart onstage’: Patrick W. Lord on his new play for tots (interview by Nicole Hertvik, March 17, 2023)

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When you go to see The Hula-Hoopin’ Queen at Imagination Stage, be prepared to spend 75 minutes bopping along in your seat the whole time, on 139th Street in Harlem. The atmospheric set, brilliantly designed by Natsu Onoda Power, immediately sets the tone of a vibrant and upbeat city. Some of the street signs indicate that it’s Saturday morning, and they cleverly change to alert the audience to the passage of time as the show progresses. Based on the book of the same name by Thelma Lynne Godin, adapted by Gloria Bond Clunie, play is the name of the game in this delightful performance directed by Angelisa Gillyard. From rhythmic wordplay (“swiggle, swish, switch”) to the hula-hooping competition, to turning chores like shelling peas and cooking into a game, the playfulness comes through at every moment.

The plot centers around three friends: Kameeka (Kalen Robinson), a bright-eyed middle schooler who wants to be the best at something, but isn’t quite sure yet what that is; Portia (Alana Thomas), who is dedicated to her flute and the peacemaker of the trio; and Jamara (Renee Elizabeth Wilson), who constantly boasts about her hula-hooping skills. She certainly does have the talent to back it up, though she annoys her friends because of it. Kameeka and Jamara agree to a hula-hooping showdown the following Saturday, and the plot unfolds as Kameeka works to practice, but also has to contend with the fact that she’s double-booked herself: her beloved 79-year-old neighbor’s birthday party is the same day, and she’s promised to help her mother get everything ready! Caregivers and children alike might recognize that feeling of being pulled in different directions and wanting to please everyone.

The music in this show is unique and peppy; instead of long musical numbers, there are short raps, rhymes, and ditties sprinkled throughout. In “Hula-Hoopin’ Itch,” the opening number, I felt as though I was watching an energetic and percussive step show and thoroughly enjoyed it. “Cake Making Day,” performed by Robinson as Kameeka and her Mama (played in the performance I attended by Phoenix Cross) was also catchy and fun; their foot-tapping rhymes and rap made cleaning and cooking feel fun. Imagine Julie Andrews’ Mary Poppins crossed with Biz Markie. It may sound strange, but it worked!

The colorful costumes (designed by Alexis Chaney), brownstone-filled set, sweet story, and funky music all feel timeless and yet contemporary at the same time. Though set in today’s world, there is an idyllic quality to 139th Street that harkens back to a simpler time. It really does feel like an escape to join this carefree world for the duration of the performance. I was pleasantly surprised by the fact that in The Hula-Hoopin’ Queen, the older adult characters, and the relationships they have with the young girls, are perhaps the most memorable and will stay with the audience long after they leave the theater. In particular, Miz Adeline, played impeccably by the gorgeous and talented Tamieka Chavis, was irresistible and lovable. Miss Evelyn, played by a hilarious Deidra LaWan Starnes, provided lots of comic relief and had the audience guffawing over and over. Miz Adeline does reminisce about bygone days, but the beauty of the show is that the innocent pep and earnest sass of hula-hooping are still present today, as evidenced by the trio of girls.

The final, joyous scene of The Hula-Hoopin’ Queen is Miz Adeline’s 80th birthday celebration, and indeed it does feel as though the audience is attending the shindig. It’s a party you don’t want to miss!

Running Time: 75 minutes, with no intermission.

The Hula-Hoopin’ Queen plays through April 14, 2023, at Imagination Stage’s Lerner Family Theater – 4908 Auburn Avenue in Bethesda, MD. For tickets ($12-$39), call the box office at (301) 280-1660, or purchase them online.

This party is best suited for ages 5 to 11, with, in this reviewer’s opinion, the sweet spot being between 6 and 10.

ASL-interpreted performance: Sunday, March 19 at 1:00 p.m.
Sensory-friendly performance: Sunday, March 12 at 10:00 a.m.

Click here for accessibility information at Imagination Stage, including sound maps, large print programs, and other resources.

COVID Safety: Audience members are strongly encouraged to wear masks while in Imagination Stage theaters. The company’s complete Health and Safety Protocols are here.

The Hula-Hoopin’ Queen
By Thelma Lynne Godin, Illustrated by Vanessa Brantley-Newton
Adapted by Gloria Bond Clunie
Directed by Angelisa Gillyard

Props Design by Pauline Lamb; Lighting Design by John D. Alexander; Sound Design by Kevin Lee Alexander; Stage Management by Luis Ramon Cordovez.

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Aquarium, which is part of Imagination Stage’s Theater for the Very Young series, is an engaging, interactive, and appropriately slow-paced show for the youngest audiences (ages 1-5). What struck me about this show is that aforementioned pacing; writers Petro Chiarenza and Patrick Lynch, with direction by Kathryn Chase Bryer, have created a pace that has a soothing, calming effect on its audience, which is lovely to see. It is the opposite of much of the overstimulating entertainment that is often aimed at children these days.

Right from the start, the performers, Edmée Marie Faal and John Sygar, involve the little theatergoers in the show and set the expectations clearly (“not everyone will get to use everything, but everyone will get to use something”). It’s just that kind of understanding of and expertise in early childhood development that really sets Imagination Stage performances and classes apart. The little ones sit right on the stage in a semi-circle, which draws them into the imaginary world as well.

The show asks the children to use their imaginations, move, giggle, and assist all along the way.  Even the grownups, called “big people,” are asked to help at crucial moments. This is not a musical per se, but two songs are involved. One of them, which is the title of the show, “Aquarium”, is a lullaby that at the performance I attended had about half the children in the audience voluntarily lying down as if ready to take a nap. These precious moments are created by Faal and Sygar, both on stage the entire 45 minutes, who connect with the children while inspiring them to imagine a world that of course doesn’t really exist.

Though the show is entitled Aquarium, it mostly takes place on a fictional, nearly deserted island. It occurred to me that perhaps the title is a bit of a misnomer. Only toward the end, in a culminating highlight, an enormous and gorgeous purple silk jellyfish undulates and dances, creating the illusion of an ocean. The props, set design (Pietro Chiarenza), and lighting (Zac Gilbert) all contribute to helping the audience feel transported. No matter the title, this part — and the show in its entirety — is a magical experience, and observing the wondrous reactions of the children is beyond satisfying for the adults in the audience.

All four of the young ones with whom I attended said they loved the show, and as we left the theater the three-year-old (a sweet-spot age for this show, in my opinion) was already asking to come back for the next one.

Running Time: 45 minutes, with no intermission.

Aquarium plays through February 12, 2023, at Imagination Stage’s Reeve Theater – 4908 Auburn Ave in Bethesda, MD. For tickets ($16.50), call the box office at (301) 280-1660, or purchase them online. 

Best for ages 1 to 5.

COVID Safety: Audience members (age 2 and up) are required to wear masks while in the theater. See complete Health and Safety Precautions here.

Aquarium
By Pietro Chiarenza and Patrick Lynch
Directed by Kathryn Chase Bryer
With Edmée Marie Faal and John Sygar
Stage Management by Olivia Viola

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Naked Mole Rat Gets Dressed: The Rock Experience, based on the book Naked Mole Rat Gets Dressed by Mo Willems, will rock your children’s worlds. The musical, with script and lyrics by Mo Willems, music by Deborah Wicks La Puma, and direction by Kathryn Chase Bryer, is absurd and yet poignant.

The audience is launched into the naked mole rat world (or tunnel, rather), where rock ‘n’ roll (and, um, nudity) is their way of life. For those who don’t know, naked mole rats are called this because of their lack of fur or hair, giving the appearance of being naked. This musical flips the script; while we humans would be mortified at someone who decided to walk around naked, main character Wilbur (played with pizzazz and affability by Harrison Smith) shocks his colony when he decides to do something radical: he puts on clothes!

The opening number features a group of naked mole rats (whom we’ll come to know as Grande, Venti, and Tall) seeming like a neighborhood garage band — er, tunnel band — playing their “Morning Song.” They realize the fourth member of their crew, Wilbur, is missing.

The show is interspersed with faux news and weather updates from “CNN,” which in this musical stands for Constantly Naked News. The entertaining Russel Rinker delivers some hilarious lines that were clearly and purposely aimed right over the heads of the younger audience members and straight at the adults.

We meet the elusive Wilbur, who will become your child’s favorite character, as he sings, “Is It Time to Get Dressed?,” a power ballad where we learn that Wilbur is ready to try something new and bring some change into his life. Smith’s belting was powerful and impressive during this number and throughout the musical.

Other numbers that rounded out the first act included “Scandal,” a dark, metal-rock piece where it becomes clear that it’s not easy to go against the norm, and “Hats & More,” a rockabilly-style dance number that included some fun dancing and choreography by Tony Thomas. The song reminded me of a cross between “Stray Cat Strut” and “Puttin’ On the Ritz.” Alana Thomas as Grande, Steven Gondre-Lewis as Venti, and Kathryn Zoerb as Tall all gave memorable performances as Wilbur’s friends who struggle to accept his newfound affinity for clothing.

After intermission, the tension mounts as Grande, Venti, and Tall decide to summon the leader of the naked mole rat colony, Grand-Pah (also played with great comedy by Rinker), to weigh in on the drama. After a delightful introduction by his secret service agent, played by Caroline Dubberly, who has a lovely voice, we meet Grand-Pah, who decides he will issue a proclamation to the entire colony about Wilbur. The special effects during the song “Proclamation” are cool, and my son eagerly whispered, “Mom, look!” as various items of clothing fell from the sky onto the stage. Hat tip to Props Designer Dre Moore and Scenic Designer Mollie Singer for the wow factor.

It is in this second act that we see Wilbur wrestle with his internal struggle: Should he play it safe, be like everyone else, and take off his clothes? Or should he stay strong and true to himself? The final number of the musical teaches us that as long as we’re not hurting anyone else, we might as well be ourselves; the rest of our community will be better, cooler, and more rockin’ as a result!

Running Time: 60 minutes, with no intermission according to the website (although at the performance reviewed, there was a 15-minute intermission).

Naked Mole Rat Gets Dressed: The Rock Experience plays through January 8, 2023, at Imagination Stage–4908 Auburn Ave in Bethesda, MD. For tickets ($25–$39), call the box office at (301) 280-1660, or purchase them online. 

Best for ages 4 to 10.

The program for Naked Mole Rat Gets Dressed: The Rock Experience is online here.

COVID Safety: Audience members (age 2 and up) are required to wear masks while in the theater. See complete Health and Safety Precautions here.

Naked Mole Rat Gets Dressed: The Rock Experience
Based on the book Naked Mole Rat Gets Dressed by Mo Willems
Published by Hyperion Books for Children
Script and Lyrics by Mo Willems
Music by Deborah Wicks la Puma
Directed by Kathryn Chase Bryer
Music Direction by Deborah Jacobson; Costume Design by Eric Abele; Lighting Design by Max Doolittle; Sound Design by Justin Schmitz; Assistant Props Design by GE Burgtorf; Stage Management by Samantha Leahan.

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The Day You Begin, a new musical directed by Charlotte Brathwaite and based on the picture book of the same name by Kennedy Center Education Artist-in-Residence Jacqueline Woodson, made its debut this weekend at the Kennedy Center’s Family Theater. Like the book, the musical is big on empowerment and inclusivity. And for this musical version (billed as “A Play with Lots of Music”), what it lacks in narrative plot, it makes up in an atmospheric bubble of positivity and acceptance.

The set, a classroom that is visible upon entering the theater, is inviting, fun, and cheerful. Even before we meet the classroom’s teacher Ms. Veve, played by the effervescent Audrey Hailes, the set makes clear it’s a place where any child or adult would want to spend their time. Scenic Designer Jian Jung and Props Designer Sam Bay clearly did their research and it paid off in droves.

The musical intersperses interactivity throughout, but especially at the beginning when Ms. Veve warms up the audience by celebrating and shouting out the singers, dancers, teachers, basketball players, etc. in the audience. The tone and theme are thus communicated right away: we are all unique and worthy beings with stories to tell. Hailes’ Ms. Veve exudes the capable warmth and command of a master teacher.

We then meet the rest of the cast: the four children preparing for their first day of school. There’s Angelina (a sweet and affable Carla Duren), who has spent her summer reading books to her sassy little sister (played with hilarious accuracy by Hailes), Min, played in the performance I attended by Sarah Anne Sillers, a quirky artist who loves monsters, Sam (Noah Virgile), a nonverbal, musical soul with sensory sensitivity, and Rigoberto (Camilo Linares), a soccer-obsessed boy who moved from Venezuela and who is really missing his abuelita.

Rigoberto’s entrance is one of the many unexpected delights in the musical. He is “playing” soccer as he enters from the audience, involving many eager young children in pantomiming heading the ball back to him as he makes his way to the stage. My son’s and many other kids’ jaw dropped as they realized the screen on the stage was suddenly showing the audience itself, and they could actually see themselves on it!

The special effects and lighting in The Day You Begin deserve a special mention, as they are integral to the entertainment and enjoyment of this production. The work of Lighting Designer Tuce Yasak and Projection Designers Hailey LaRoe and Attilio Rigotti was a major boon to the musical.

Of the nine musical numbers, a few stand out. Hailes’ lead vocals in “Veve’s Good Morning” are beautiful and strong. Her voice is magnetic. The aforementioned grand entrance of Rigoberto is accompanied by the upbeat and fun “My Name Is Rigoberto,” with a catchy Latin rhythm.

When the four children are at lunch, three of them are put off by Min’s strong-smelling kimchi and rice dish. As a result, Min sings and educates us about the ubiquity of rice in “Min’s Precious World,” which is reminiscent of a folk rock song. Sillers rocked this number as she sang, “…let’s talk about rice,” with enthusiasm.

“Pick Me” also caught my attention for its great beat and energy. Toshi Reagon impressively not only wrote the music and lyrics for “The Day You Begin” but also plays guitar, drums, percussion, and synth on many of the numbers.

In a couple of the numbers, I had difficulty hearing the lyrics; the singers sounded slightly muffled or quiet as the background music seemed to overpower them. This is may have been because my seat was right under the speakers, but worth mentioning.

The actors are to be commended for playing characters much younger than themselves with dignity and conviction. My five-year-old asked me after the musical, “Mom, were those kids?” The mannerisms, cadence, movement, and facial expressions were all executed to perfection. Virgile, whose subtle yet authentic portrayal of Sam included no spoken lines, uses a talking keyboard to communicate. It sparked curiosity and a great conversation with my son. Linares was a memorable and enigmatic Rigoberto who lit up the stage.

Attending this performance is certain to make you feel affirmed and content, empowered to tell your own stories with pride and carry the cheerful bubble of The Day You Begin’s world with you for a long time.

Running Time: 55 minutes, with no intermission.

The Day You Begin plays through December 18, 2022, at the Kennedy Center’s Family Theater – 2700 F Street, NW, in Washington DC. For tickets ($20–$25), call the box office at (202) 467-4600, or purchase them online. Best suited for ages 7–12 according to Kennedy Center’s website.

The program for The Day You Begin is online here.

The production will embark on a National Tour in 2023 (dates and venues to be
announced).

COVID Safety: Masks are optional in all Kennedy Center spaces for visitors and staff. If you prefer to wear a mask, you are welcome to do so. See Kennedy Center’s complete COVID Safety Plan here.

The Day You Begin
World Premiere Kennedy Center Commission
Based on the Book by Jacqueline Woodson, Illustrated by Rafael López
Script by Jacqueline Woodson
Music and Lyrics by Toshi Reagon
Directed by Charlotte Brathwaite
Puppetry Design and Direction by Emma Wiseman

Dramaturg Amissa Miller; Costume Design by Trevor Bowen; Sound Design by Nick Hernandez; Casting Direction by Danica Rodriguez; Hair and Makeup Design by Priscilla Bruce; Choreography by Audrey Hailes; Artistic Production by Sean-Maurice Lynch; Executive Production by David Kilpatrick and Jordan LaSalle.

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Fans of Rick Riordan’s book The Lightning Thief will be delighted with Silhouette Stages’ The Lightning Thief: The Percy Jackson Musical, playing at Slayton House Theater through October 23. The musical, which is adapted from the book and originally commissioned, created, and produced Off-Broadway by TheaterWorks USA, is directed here by TJ Lukacsina as a slightly edgy yet still sweet story of a boy who finds out he’s actually a demi-god, known as a “half-blood.”

The Lightning Thief is full of catchy rock n’ roll music, starting with the opening number, “The Day I Got Expelled.” The middle school–style angst is evident right away. Reid Murphy as Percy perfectly captures a frustrated kid who’s sweet, but annoyed at, well, everything. We learn that Percy is living with his single mom and smelly stepfather in “Strong,” where one phrase from the lyrics sets up a key message for the rest of the musical: being normal is a myth. Murphy’s Percy connects with the audience and is delightful to watch throughout the musical.

The plot is fast-paced, and the audience is quickly treated to Percy’s first interaction with a mythical creature (a Minotaur) and his arrival at Camp Half Blood, a safe haven for the result of gods and humans, shall we say, intermingling. Ethan Kintsler gave a strong performance as Mr. D (as well as other characters like the aforementioned malodorous stepfather), who is a cranky and dismissive Dionysis begrudgingly serving as the camp’s director.

A strength of the show is the supporting cast members who play multiple memorable roles. Julia L. Williams is a villainess extraordinaire as Clarisse La Rue (daughter of Ares, god of War), Medusa, and Ms. Dobbs, the math teacher who is actually a Fury in disguise. Otega Okurume’s facial expressions and stage presence endeared him to me as Luke, Percy’s counselor. And every time Imani Corbin was on the stage, her dance talent, which stood out among the cast, caught my attention. Cheryl Campo commanded the stage as Sally, Percy’s mom, but also as the Oracle and Charon. As Mr. Brunner and Poseidon, Christopher Kabara provided a plethora of comic relief among the overflowing emotion from the tweens and teens.

Other highlights from the first act included “The Campfire Song,” a cozy tune where we see the camaraderie among the campers as they commiserate about their trials and tribulations as often-neglected children of gods, and the brief but well-executed “The Oracle.” Hats off to Costume Designer Deana Cruz-Conner for creating a clever and mesmerizing experience for the audience during that number!

After intermission, the musical focuses on the quest itself, and again the pacing and energy pack a solid punch, but we do get some slower ballads as well. In “My Grand Plan,” which I thought was one of the best songs in the musical, Leah Freeman as Annabeth stood out with her hauntingly beautiful vocals. “Drive” has an almost Mumford and Sons–esque quality to it, and the conflict is made more complex by Percy’s best friend and protector Grover, played by the charmingly earnest Nick Thompson, sharing an emotional flashback in “The Tree on the Hill.”

The second act also takes us on a wacky journey through the woods in New Jersey, to Vegas, to a Los Angeles record company headquarters, which serves as the entrance to the underworld, and to Hades’ lair itself. All of this with hefty doses of humor and lightheartedness to keep things enjoyable and mostly age-appropriate for the upper-elementary through high school set.

As Director TJ Lukacsina tells us in the playbill’s Director’s Note, “…gods and heroes can look like any of us.” This production, with its diverse and talented actors, a main character who is explicitly neurodiverse (Percy has ADHD and dyslexia), rock n’ roll music, and engaging plot, is a must-see for fans of the book, and I imagine even those who have not read it will thoroughly enjoy it, too.

Running Time: Two hours, including a 15-minute intermission.

The Lightning Thief: The Percy Jackson Musical plays Friday and Saturday at 8 pm and Sunday at 3 pm through October 23, 2022, presented by Silhouette Stages performing at Slayton House Theater at Wilde Lake Village Center, 10400 Cross Fox Lane, Columbia, MD. Tickets ($24/adults, $20/students/military/educators, $15/children 0-12 ) can be purchased online.

COVID Safety: Proof of full vaccination is required and masks must be worn at all times inside the building. Silhouette Stages’ full COVID-19 Safety Plan is here. 

The Lightning Thief: The Percy Jackson Musical The Lightning Thief
Book by Joe Tracz
Music and Lyrics by Rob Rokicki

Cast
Percy Jackson – Reid Murphy
Annabeth Chase – Leah Freeman
Grover the Satyr – Nick Thompson
Luke Castellan – Otega Okurume
Sally Jackson – Cheryl Campo
Mr. Brunner – Christopher Kabara
Clarisse La Rue – Julia L. Williams
Katie Gardner – Imani Corbin
Mr. D. – Ethan Kinstler

Production
Director – TJ Lukacsina
Assistant Director – MarQuis Fair
Music Directors – Ginny Moses & Carolyn Freel
Choreographer – Rikki Howie
Stage Manager – Rebecca Hanauer
Assistant Stage Manager – Tyler Hart
Fight Choreographer – Russell Rinker
Costume Designer – Deana Cruz-Conner
Properties Designer – Jessie Krupkin
Set Designer – Stephen Foreman
Sound Designers – Ethan Hogarty and PJ Jani
Sound Effects – Brent Tomchik
Projection Design – Amy and Richard Atha-Nicholls
Production Photographer – Ana Johns

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