When Rayanne Gonzales first auditioned for Arena Stage 20 years ago, she didn’t even know what “sides” were. By the time she stepped into the role of Sister in Damn Yankees in 2005, she was still figuring out where she belonged. “I thought, ‘Oh my gosh, it’s a speaking role. This is new. Wow,’” she recalls. That leap into unfamiliar territory would transform her career and eventually bring her full circle — back to Sister, two decades later, older and wiser.

At the time, Gonzales was fresh back in the DMV after 12 years in Boston. She was a classically trained opera singer with a master’s from the Longy School of Music, a résumé that included the Boston Lyric Opera Chorus, and dreams of building a career in Europe’s subsidized opera houses. Instead, opportunity found her at Arena Stage in 2004 with Señor Discretion Himself. It wasn’t opera, but it earned her an Equity card. A year later, Arena called her back for Sister in Damn Yankees.

That role shifted her path entirely. One of her castmates was leaving acting to become an agent. “He called me and said, ‘Hey, I want to send you out on your next audition. Follow these instructions.’” She followed them but had learned the wrong notes — studying from the vocal selections book instead of the score. But the music director liked Gonzales’ version better and changed the music to match. That so-called mistake won her the role of Bloody Mary in South Pacific in North Carolina and at Casa Mañana in Texas.

From there, musical theater claimed her. She turned down an opera apprenticeship, realizing, “musical theater found me.” Soon she was on the train to New York constantly. “I would wake up before dawn in Woodbridge, get on the earliest train, make it to Union Station, and by noon I’d be in New York auditioning. Then I’d catch the 4 p.m. train back home and be in my own bed that night. And I did that all the time. It became second nature.”

Momentum built quickly. In 2008, as a nursing mom with a six-month-old, she auditioned for The Phantom of the Opera on Broadway — and booked it. “I went from being a single mom at home, piecing together gigs, to making my Broadway debut. One day I was nursing my baby, the next day I was signing a pink contract. A Broadway chorus contract is basically the equivalent of a government job. You’re set as long as the show is running. Phantom saved me. It changed the trajectory of our lives.”

But the hustle came with hard lessons. After finishing back-to-back tours, Gonzales collapsed with vertigo, sidelining her for a year. “My instinct wasn’t to call 9-1-1. It was to call my agent and tell them I couldn’t make the audition.” That scare taught her to resist overcommitting. “If it’s always a scarcity mindset, then you hustle for everything. But trust that the work will still come. Might it take longer? Sure. Might it get desperate? Absolutely. But trust and have faith that the universe will provide.”

Now, two decades later, Gonzales returns to Sister with new tools. “What feels different is that I understand comedy better now. Comedy is a strategy. It’s timing, it’s listening, it’s landing the joke so the audience responds. I didn’t know that 20 years ago. Being able to revisit a character with that knowledge is a gift. Back then, I don’t think I had the intelligence or the skill set to really set things up. Now I do.”

She also knows exactly who she is. “Twenty years ago, I doubted myself. I let intrusive thoughts about my talent get the best of me. Now I know who I am. I know my skill set. I don’t need validation of it. What I can do now is bring that confidence into the room, bring positive energy, and make sure the younger actors feel supported. Because I’ve gone from being the rookie to being the elder.”

Her advice to younger performers comes from lived experience. “In this career, you will miss things — birthdays, weddings, family events. But make sure you prioritize the people who matter most to you. Because at the end of the day, the work will come and go. But those relationships? That’s what you keep.”

Returning to Sister now, Gonzales finds joy in the character’s boundless enthusiasm. “Sister is an enthusiastic fan of baseball with a particular devotion to the players — especially the good-looking ones,” she laughs. “She’s effusive in her enthusiasm for the game, and Doris [her sister] and she are peas in a pod.”

What feels different in 2025, she says, is her ability to harness that enthusiasm with precision. “Being able to revisit a character and think, How am I going to set this up? Whereas 20 years ago, I don’t even know that I had the intelligence or the skill set to actually do that. That’s the gift of being able to revisit this.”

And in true theater fashion, the audience remains her scene partner. “The audience is as much of a player in this as I am. There is energy we receive from them. Some days, if they’re not giving it, they’re not giving it. But when they are, it’s magic.”

For Gonzales, Sister in 2025 is no longer just a role she once took on nervously — it’s a role that mirrors her growth as an artist and a person. From rookie to veteran, from opera singer to Broadway actor, from self-doubt to self-assurance, Gonzales’ return to Damn Yankees is proof of how much can change in 20 years — and how much joy can come from stepping back into the same shoes, this time with confidence and grace.

Running Time: Approximately two hours and 10 minutes, including one 15-minute intermission.

Damn Yankees plays through November 9, 2025, in the Fichandler Stage at Arena Stage,1101 Sixth Street SW, Washington, DC. Tickets start at $49 (fees included) and are available online or through TodayTix. Tickets may also be purchased through the Sales Office by phone at 202-488-3300, Tuesday through Sunday, 12-8 pm, or in person at 1101 Sixth Street, SW, D.C., Tuesday through Sunday, two hours before the show begins on performance days.

Arena Stage’s many savings programs include “pay your age” tickets for those aged 35 and under; military, first responder, and educator discounts; student discounts; and “Southwest Nights” for those living and working in the District’s Southwest neighborhood. To learn more, visit arenastage.org/savings-programs.

 The Damn Yankees program is here.

The post Rayanne Gonzales returns to ‘Damn Yankees,’ 20 years wiser appeared first on DC Theater Arts.

It’s Saturday night in DC, and the lights are low at the UDC Phoenix Theater. The room is buzzing — sold out, every seat filled. Erick Acuña, the creator, director, and producer of Meet Cute: Live Blind Date Comedy Show, steps onstage with a grin and calls out: “Who’s ready for a Friday night date?”

“It’s Saturday!” people shout back, laughing.

“Even better,” he replies, without missing a beat.

This is Meet Cute, the live blind date comedy show that’s traveled from Capital Fringe to Edinburgh Fringe and now lands squarely in the heart of the very first District Fringe Festival. It’s part theater, part improv, part reality dating experiment — and 100 percent chaos (the good kind).

The premise is simple: Two strangers go on a real blind date. Onstage. In front of everyone. And a team of improv comedians listens closely, waiting to turn every awkward pause and flirtatious stumble into full-on improv sketches.

Tonight’s date: Josh and Jivanji. Josh is already sitting on stage when we walk in — a quiet guy in marketing who once wrote a national museum tagline: “History Moves Us Forward.” Jivanji joins him moments later — poised, warm, a tech worker who grew up in India and New York. Neither has done anything like this before.

Their chemistry? Casual. Cordial. Not fireworks, but enough spark to keep the audience leaning in. They trade stories: he loves darts and ping pong; she’s into bachata and true crime. He lives in Bethesda; she’s in Rosslyn. She once went hiking in Montana, got a flat bike tire, accidentally maced a stranger while trying to hitchhike, and later spotted what she thought was a severed hand sticking out of a pickup truck. (She stayed calm. Sort of.)

From the moment they start chatting, the audience becomes a third wheel — the harmless, giggling kind. Every time Josh or Jivanji reveals something new, four improv actors waiting in the wings later leap into action. One moment, they’re acting out a woman who can’t stop macing her friend in a bar and in his apartment; the next, a tourist in Death Valley looking for corpses and police tape and a ranger serving OOTD’ed vibes (you had to be there to get it). Later, a man invents heartfelt taglines while his wife is in labor. “Doctors. Thank you.”

We return to the date. This time, with cue cards. The questions get more revealing. “If you were reincarnated, what would you be?” Josh says a terrier. “They don’t do anything, and people pick up their poop.” Jivanji raises an eyebrow. “Sounds like someone avoiding responsibility.” He grins. “Not in this life. Next one.”

She says she lives like this is her only life, and earlier she shared that her dad already passed away. It’s a small moment. The room gets a little quieter.

The rest of the questions keep it playful — pet peeves, hidden talents (Josh can speak phrases backward), favorite household items (his: a bobblehead collection that becomes a future HR violation in the improv sketch). She can’t stand people who chew with their mouth open. He hates when people mix up “your” and “you’re.” She jokes she won’t text him. He recommends Grammarly.

Each answer gets absorbed and reborn onstage in the final round of improv. Josh’s grammar obsession triggers texting-induced sweat attacks among his friends. His bobbleheads? Part of a civil rights slogan recital — in multiple languages, including Spanish. His “unfunny” friends almost cancel him and defend their comedic honor.

Was it polished? Not always. There were mic issues in the beginning — but they got fixed quickly, and the audience stayed with it. That’s the spirit of Fringe, after all: a little scrappy, a lot spontaneous, and totally unforgettable.

Meet Cute isn’t really about finding love (or is it? We need the blind-date-to-marriage stats on its veteran participants — where are they now?). It’s about the tiny, human details that make us laugh, cringe, and maybe, just maybe, feel a little less alone in the messiness of dating. Whether you’re single, partnered, or just here for the punchlines, it’s one of those shows that reminds you why live theater matters — because anything can happen.

And sometimes? It starts with a blind date.

Meet Cute: Live Blind Date Comedy Show
Improv by Erick Acuña Productions

Running Time: 60 minutes
Date and Time: Saturday, July 12, 8:30p

Venue: Phoenix – UDC Lecture Hall (44A03)
Tickets: $15
More Info and Tickets: Meet Cute Blind Date Comedy Show

Genre: Improv

Performed by: Erick Acuña, Jordana Mishory, Eva Lewis, Jhon Carrol, Mia Bloomfield

The complete 2025 District Fringe Festival schedule is online here.
The 2025 District Fringe Festival program is online here.

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TINA – The Tina Turner Musical is sheer theatrical brilliance, seamlessly merging the finest elements of jukebox musicals and period theater. It compares to such celebrated contemporaries as Lady Day at Emerson’s Bar and Grill, Memphis, Beautiful: The Carole King Musical, and The Color Purple Musical. The production astounds with a riveting book by Katori Hall, breathtaking costumes, ingenious set designs, a pulse-pounding score, and impeccable choreography — a stirring tribute to the indomitable spirit of an iconic legend.

The show opens with Tina, played with indisputable talent by former American Idol star Jayna Elise, in a meditative posture facing a stairwell that seems to ascend into the heavens. This poignant image, crafted under the direction of Phyllida Lloyd, later reveals itself as the prologue to a climactic concert that has the audience on their feet, transported into a pulsating world of music and triumph.

The story chronicles Tina’s tumultuous childhood as Anna-Mae Bullock, her meteoric rise to fame, and her harrowing marriage to Ike Turner, played with a chilling intensity by Sterling Baker-McClary. The narrative resonates with parallels to Beautiful: The Carole King Musical, as Tina’s extraordinary talent is both nurtured and exploited by a partner who ultimately becomes a source of profound emotional pain. Pop composer and singer songwriter Carole’s and Tina’s stories converge so similarly in their triumphant rediscovery of themselves, proving their artistry could outshine any personal hardships. If they weren’t inspiring true-life stories, one would be tempted to call them unoriginal.

The musical numbers and accompanying choreography by Anthony Van Laast are mesmerizing and deeply moving, expertly guided by Music Supervisor Alvin Hough Jr. and Music Director Shane Ffrench. Crowd favorites include “What’s Love Got to Do With It,” “I Can’t Stand the Rain,” “Nutbush City Limits,” and, of course, “Proud Mary.” A standout moment comes from Taylor Brice, who portrays young Anna-Mae Bullock with theatrical charm and an unfiltered vocal purity that endears the young star to the audience.

Diedre Lang brings to the stage a tender eccentricity and gray pigtails as Tina’s grandmother. Contrasting this is Tina’s father, a fiery Baptist preacher, played by Maurice Alparicho. Right from the praise breaks, tambourines and church hats, the production draws parallels with The Color Purple Musical in which sultry singer Shug Avery is also a preacher’s daughter and Harpo’s first wife Sofia — just like Catrina Brenae as Tina’s mother — refuses to accept physical abuse from a man without a fight.

Nevin Steinberg’s sound design masterfully intertwines Tina’s Buddhist chants with echoes of her Christian upbringing, creating an auditory tapestry of her dual spiritual journey. A particularly moving scene features Tina kneeling in prayer while a background chorus of family, church members, and her younger self chants her name — a poignant reflection of her layered identity.

Similar to Memphis and Lady Day at Emerson’s Bar and Grill, TINA touches on the racial discrimination of the time, from police brutality to industry prejudice as a “nigger broad,” and segregated radio waves, though these moments serve as side notes rather than focal points. Unlike Lady Day, which portrays iconic jazz and blues singer Billie Holiday succumbing to addiction, societal pressures, multiple abusive partners, childlessness, and trouble with the law, Tina’s story shines as one of resilience and reinvention.

The seamless set transitions are among the best in modern theater. Bruno Poet’s lighting design and Jeff Sugg’s projection artistry are nothing short of breathtaking. Every piece of Mark Thompson’s scenery moves seamlessly, creating a dynamic yet fluid stage environment. Thompson, who also doubles as the costume designer, aptly reflects Tina’s transformation — from the modest Nutbush attire to her glittering gold dress in St. Louis and her iconic leather and denim ensembles as a solo star.

The final concert scene in Brazil is a sensory explosion, a visual and auditory spectacle featuring holographic lights, pyrotechnics, and the roaring cheers of a simulated — even hysterical at the mezzanine — crowd. In two hours and 45 minutes, the production grips the audience from start to finish, never faltering. By the final bow, the audience isn’t just clapping — they’re on their feet, cheering, and wholly entranced. Obviously, this is more than a musical; it’s an experience, a reliving and celebration of a legend whose music will keep playing even when the stage lights turn off.

Running Time: Two hours and 45 minutes with one intermission.

The North American tour of TINA – The Tina Turner Musical plays through January 26, 2025, at the National Theatre, 1321 Pennsylvania Ave NW, Washington. Tickets (starting at $125) are available online, at the box office, or by calling (202) 628-6161.

The cast and creative credits for the touring production are here.

Enter the Digital Lottery for a chance to purchase $30 tickets to Broadway at The National shows. Learn more here.

COVID Safety: Masks are strongly recommended but not required for all ticket holders. For full COVID protocol, go here.

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You know their names: Trayvon Martin, Breonna Taylor, George Floyd — victims of systemic racism immortalized in public consciousness by the Say Their Names and Black Lives Matter movements. Against this backdrop, the Kennedy Center’s Social Impact program, in collaboration with the Washington National Opera and National Symphony Orchestra, presents The Cartography Project, an initiative that explores the pressing question Where do we [Black people] go from here?

African Americans have begun answering this question through movements like Blaxit — a trend of “Black Exit” from systemic oppression by moving to African countries and leaving America to escape systemic racism — covered in detail by The New York Times and The Washington Post, The Cartography Project seeks to answer it through art. Its operatic double bill, The Seer and Future of Dreams, directed by Raymond O. Caldwell, with Black composers and librettists, aspires to chart a path forward. The productions — performed January 10, 2025, in the Reach at Kennedy Center — offer poignant moments and thought-provoking concepts but answer the question only in part.

The Seer, with a libretto by Brittini Ward and music by Levi Taylor, calls for a mental Blaxit  — a mental exodus from oppressive systems rather than a physical departure. This conceptual Blaxit is bold, daring, and rooted in reclaiming dignity right here in America. The audience meets Ama, portrayed with emotional depth by Melissa Joseph, a 30-year-old office assistant in Detroit, Michigan, who endures the relentless grind of working for an overtly racist boss, played with chilling realism by Jonathan Patton. The lyrical composition poignantly echoes the exploitative dynamics of the antebellum South, masked by the modern capitalist rat race:

When you work for us, your time is always mine
You get paid, to work day, noon, and night
You should be grateful, I gave you confidence,
Capitalized your talents, Helped you find purpose.

Ama’s journey to liberation does not come from endurance but from a pivotal decision to reclaim her identity and dignity. She undergoes a powerful transformation, symbolized by trading her green office sweater for a long, vibrant kente jacket  —  a visual embrace of African heritage and values such as Sankofa, Kumba, and collective responsibility. Her declaration, “Before these systems identified me incorrectly. My culture preceded me,” underscores the essence of her mental Blaxit. Though she does part ways with her toxic work environment, her freedom is rooted first in her mindset; she reclaims her space and dignity by rooting herself in her cultural identity.

The performance of Tesia Kwarteng as the Grandmother/Elder adds a grounded wisdom to Ama’s narrative, while Viviana Goodwin as Irie brings warmth and solidarity to Ama’s transformative journey. The minimalist set design by Bethany Windham becomes intriguing due to its multifunctionality — how easily a bed transforms into a desk and then a restaurant dining table — enhancing the visual storytelling. The costumes by Mark Hamberger are exceptional, where traditional Ghanaian kente cloth is elegantly portrayed with headbands, print-style kimonos, and other vibrant outfits.

The second opera, Future of Dreams, with a libretto by Deborah D.E.E.P. Mouton and music by Jaylin Vinson, takes audiences to 2064, following two Black women striving to elect Houston’s first Black female mayor. While thematically resonant, the work feels repetitive, echoing questions already explored in Rachel Lynett’s Letters to Kamala (2024), which featured historical Black women in politics:

• Charlotta Bass, the first Black woman candidate for U.S. Vice President
• Charlene Mitchell, the first Black woman to run for U.S. President
• Patsy Matsu Takemoto Mink, the first woman of color elected to the U.S. House of Representatives
• Kamala Harris, the first woman of color elected U.S. Vice President

Despite being set 40 years apart, Letters to Kamala and Future of Dreams pose the same ol’ questions to Black women: Can you lead? And at what cost? Viviana Goodwin and Tesia Kwarteng deliver nuanced performances as Imani and Magdalena, but the narrative struggles to break new ground. The narrator, played by Mouton, critiques political stagnation with searing lines:

Progress feels like opposite sides of a two-party coin, ready to flip once elected, but never making change.

The narrator’s all-white garb evokes the archetype of an authoritarian figure with moral uprightness and integrity, reminiscent of the prince in Folger Theatre’s Romeo and Juliet and the Prime Minister in Washington National Opera’s Fidelio. She spoon-feeds us answers, calling for us to bet on a dream, which evokes MLK’s “I have a dream,” Barack Obama’s Dreams from My Father, or the circulating quote “I am my ancestors’ wildest dreams.” But is it the story moving the narrative forward or regurgitating the same tropes?

Debate podiums are placed on opposite sides of the stage, a striking visual symbolizing the literal and ideological divide in political discourse. Director Raymond O. Caldwell’s signature choices, including the alternating spotlight technique during the muted speeches, add dramatic tension. Despite a talented ensemble, there is room for improvement in portraying the voters, as rarely are political audiences limited to three or four individuals in a nation of 334 million. Incorporating multimedia elements to depict a larger, virtual electorate in a technologically advanced future could add a layer of realism and futurism to the opera.

The iteration, expected to later develop into full operas and go on tour in fall 2025, is off to a spectacular start. Its use of African talking drums and operatic renderings of colloquial expressions like “gurrrrl” breathe fresh air into the traditionally Eurocentric operatic canon. These elements mirror the Kennedy Center’s earlier reimagining of Jungle Book, which fused Bharatanatyam dance and Hindustani music to reclaim a colonial narrative.

This double bill was more than an artistic endeavor — it’s a cultural milestone. It is a bold, compelling reflection on identity, politics, and cultural heritage. With continued nurturing, Kennedy Center’s Social Impact program is poised to redefine opera’s landscape, amplify underrepresented voices, and inspire a broader transformation across the arts, all while restoring Black dignity along the way.

Running Time: Approximately 70 minutes.

The Cartography Project: Black Futures was performed on January 10, 2025, in Studio K at the REACH at the Kennedy Center.

The Seer
Libretto by Brittini Ward | Music by Levi Taylor
Future of Dreams
Libretto by Deborah D.E.E.P. Mouton | Music by Jaylin Vinson

Raymond O. Caldwell, Director
Joshua Horsch, Conductor
Carlos Simon & Marc Bamuthi Joseph, Mentors

The complete program (including credits, bios, and libretti) is online here.

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“Let me be the first to tell you… this is not a normal Nutcracker,” declares the charismatic MC Kurtis Blow, who took the stage at The National Theatre to open The Hip Hop Nutcracker. It truly wasn’t the humdrum; it was an evening best summed up as vibes on vibes on vibes. The Tony and Olivier Award-nominated spectacle blends Tchaikovsky’s timeless compositions with hip-hop dance forms, all set against the backdrop of New Year’s Eve in Uptown, USA. The story loosely follows the classic Nutcracker plot but trades ballet slippers for sneakers and brings the street party to the stage in the most vibrant way possible.

After a riotous “3…2…1…HAPPY NEW YEAR!” countdown, stunning projections designed by Hana S. Kim — showing the Brooklyn Bridge and other parts of New York City — flash by and end in front of Drosselmeyer’s Toys, which serves as the central set piece. Jaylin Sanders, in her skully and varsity jacket, appears on stage to deliver a standout, emotionally charged violin performance, blending classical technique with hip-hop beats right before the start of an annual uptown holiday street party. The ensemble dancers, dressed in vibrant, urban-inspired costumes by Samantha C. Jones and Katy Freeman, bring dynamic movements to the stage, from krumping to moonwalking to South African Amapiano-inspired choreography.

Maria-Clara, passionately portrayed by Jazmyn Thomas, finds herself caught in her parents’ constant bickering. When she encounters a street vendor selling roasted nuts, a budding romance begins to bloom. But the streets aren’t all fun and games; the menacing Mouse Crew — featuring the fiercely energetic Vicki “La Vix” Chang as the Mouse King — makes its entrance, leading to an intense dance battle. This battle between Maria-Clara, the Nutcracker (Ryan Nebreja, who delivers a powerful and magnetic performance), the Toy Soldiers, and the rats is a masterclass in intensity and energy, with a magical red gift providing a triumphant twist.

Post-intermission, Drosselmeyer, portrayed with an enigmatic flair by Jaelyn Heath, literally moves the hands of time and transports us back to the Land of Sweets nightclub on New Year’s Eve, 1984. Here, Maria-Clara witnesses the night her parents first fell in love, sparking a deeper understanding of their relationship. The romantic pas de deux scenes are where the choreography truly shines. Set against a backdrop of a starry night, complete with a full moon and falling snowflakes — brought to life by Brandon Stirling Baker’s evocative lighting design — the two generations of couples convey their love through a seamless blend of breakdance and ballet. The beautifully nostalgic projected graffiti visuals, retro YMCA dance moves, and a Steven Urkel-like character in the Land of Sweets scene add layers of humor and connection, making it a true celebration of community and love.

The ensemble cast — including the intensely captivating Tomoe “Beasty” Carr, the rhythmically dynamic Cadence Blackful, the skillful Philip Svirshch, the emotionally compelling Trent Jeray, the exuberant Baptista Kawa, the magnetic Angel “Staccato” Guzman, and the graceful Shantel Urena — brings relentless energy and charisma to every scene.

Ballet and hip-hop may come from vastly different worlds — one born in the courts of Europe, the other in the urban streets of the United States — but The Hip Hop Nutcracker brings them together in an unexpected and thrilling marriage. While this production leans heavily on hip-hop dance to Tchaikovsky’s compositions, there’s potential for a deeper integration of the two forms. Jennifer Weber’s award-winning and innovative direction and choreography fuse the contrasting styles into a cohesive whole. Yet, a more seamless blend of classical music with hip-hop beats, as well as a balanced mix of ballet’s grace and hip-hop’s raw power, could elevate the experience even further.

From the electrifying opening moments to the heartfelt reconciliation at the end, The Hip Hop Nutcracker captures the spirit of community, love, and celebration. Whether you’re a fan of Tchaikovsky, hip-hop, or both, this contemporary twist on a classic tale is an up holiday treat.

Running Time: Approximately two hours, including a 20-minute intermission.

The North American tour of The Hip Hop Nutcracker played December 20 to 22, 2024, at the National Theatre, 1321 Pennsylvania Ave NW, Washington. Tickets ($80–$130) were available online, at the box office, or by calling (202) 628-6161.

The cast and creative credits for the touring production are here.

Enter the Digital Lottery for a chance to purchase $29 tickets to future Broadway at The National shows. Learn more here.

COVID Safety: Masks are strongly recommended but not required for all ticket holders. For full COVID protocol, go here.

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“Did they just change the beat up on me?” Kanysha Williams asked the audience in a flirty, pseudo-shocked manner before launching into “Mr. Big Stuff, who do you think you are?” This playful banter set the tone for Signature Theatre’s I’ll Take You There, a celebration of the iconic Stax Records Co. Under the direction of Sean-Maurice Lynch and music director De’Anté Haggerty-Willis, tthe evening was filled with good vibes, high energy, and crowd interaction. However, emphasis on audience participation occasionally detracted from the vocal presentation, with Williams, despite her charm and talent, often taking a backseat rather than standing as an equal with her co-star.

The singers Isaac “Deacon Izzy” Bell and Kanysha Williams interweave stories about Stax Records and personal anecdotes, which adds valuable context. For one, Stax Records is credited with breaking down racial barriers and creating a unique, integrated sound in soul music, particularly during the Civil Rights Movement. However, while Williams opens up about herself beautifully (shares about her alma mater and reflections on her journey to the stage), we get little insight into Bell’s perspective beyond his discussion of Stax. Earlier integration of these personal stories, particularly in introductory numbers, would have added an emotional layer and grounded their performances.

A key highlight was “Woman to Woman,” where Williams delivered a heartfelt, raw performance that captivated the audience, as did Bell in “Blue Monday.” Songs like “I’ll Take You There” and “Hold On, I’m Comin’” brought the house down with their raw power. Initially dressed in patterned tops, Williams and Bell later reappear in black leather jackets and aviators during “Theme From Shaft” — an homage to the artist Issac Hayes, who made several appearances in the same get-up.

However, despite their energy, the balance between them felt uneven. Bell comes off as a hype man rather than an artist and his dominant presence often overshadows Williams. Their call-and-response exchanges and crowd-pleasing exclamations worked beautifully for interactive numbers like “Walkin’ the Dog,” which had the audience on their feet and created a fun, concert-like vibe. However, over time, some songs began to blend together, with little stylistic variation that could have added needed depth and texture. For example, “Try a Little Tenderness” could have benefitted from a more sensual, understated approach to truly capture its emotional core.

The band was, without a doubt, the backbone of the show. With dynamic arrangements and skillful solos, they elevated the night, capturing the essence of Stax’s sound. Their exceptional musicianship added depth to the storytelling, and an extended solo section would have been a welcome addition to let their talent shine even more.

In the end, I’ll Take You There is a spirited tribute to Stax Records, bringing its legacy of soul, unity, and cultural impact to life. While the production could benefit from more balance and subtlety in performance, it remains a lively homage to the iconic label, reminding us of music’s power to unite and uplift.

Running Time: Approximately 75 minutes, no intermission.

I’ll Take You There: Stax Records Co. plays through November 24, 2024, in the ARK Theatre at Signature Theatre, 4200 Campbell Avenue, Arlington, VA. For tickets ($46) call (703) 820-9771 or purchase online. Information about ticket discounts is available here.

I’ll Take You There: Stax Records Co.
Director of Cabarets: Mark G. Meadows
Directed by Sean-Maurice Lynch
Music Directed by De’Anté Haggerty-Willis

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Solas Nua’s double bill now playing at Eaton House brings “new light” to Irish storytelling with two contrasting performances: Brú Theatre’s Ar Ais Arís and Murmuration’s Summertime. Although both seek to explore themes of connection and disconnection, their approaches underscore the potential and limitations of technology in theater.

Ar Ais Arís, directed by James Riordan, presents itself as a virtual reality (VR) journey that promises to capture Irish heritage, displacement, and memory in a visceral way. However, despite this ambition, the VR experience feels disappointingly limited and left me more distanced than immersed. As someone who believes in the potential of VR when truly immersive — with high-resolution visuals and clear, engaging actors — this experience felt lacking. Imagine if Frozen at Olney Theatre were transformed into VR with stunning clarity; the experience would offer intimacy and immersion, granting all audience members, regardless of seating, a premium experience. However, in Ar Ais Arís, the 180-degree view offers only a limited visual range. The grainy pixels and narrow field of vision reduce what should be a multi-dimensional experience into something that could easily be projected onto a conventional screen without sacrificing much impact.

Translations of the Irish language are tremendously helpful in Ar Ais Arís’ exploration of cultural memory. However, choosing printed translations over VR-integrated subtitles feels like a missed opportunity to harness VR’s potential for a seamless blend of language and visuals. This choice keeps non-Irish-speaking viewers at arm’s length, able to see but not fully connect with the dialogue that underpins the experience. Why choose VR if it distances the audience? Why present the Irish language without VR subtitles, effectively locking viewers out of meaning? Ar Ais Arís had the potential to offer a rich, immersive experience that transcends language barriers and visual limitations, but instead, it felt constrained by them.

Despite a resonant theme, Ar Ais Arís feels more like a curiosity meant to be admired from afar. The recurring presence and symbolism of water, referencing the journey of Irish emigrants to the Americas via ship, intersects with darker histories of forced migration. Roughly 12.5 million Africans were forcibly displaced through these same waters during the transatlantic slave trade — a legacy of trauma carried across centuries. This inescapable resonance made the story of Ar Ais Arís feel limited, failing to garner my sympathy as it narrowly focused on one narrative of Irish emigration without engaging the broader, shared history of displacement. Acknowledging these layers could have grounded Ar Ais Arís in a more inclusive narrative of resilience, one that connects us all.

In contrast, Summertime, directed by John King and written by James Elliott, offers a compelling live performance enhanced through headphones. It is a refreshingly intimate and immersive take on the romance genre, inviting the audience into the fractured relationship of Stash (played by Rebecca Ballinger), a “barmaid,” and Steve (played by Finbarr Doyle), her boyfriend. The production’s strength lay in its ability to mirror the nuances of real-life relationships. Initially, the actors’ synchronized movements and dialogue reflected harmony, which gradually unraveled into miscommunication and tension.

This progression was masterfully supported by Jenny O’Malley’s dynamic sound design and innovative use of binaural audio, allowing audiences to hear Stash’s voice in one ear and Steve’s in the other as they talk over each other. As we struggle to hear them, they no doubt cannot hear each other out — mimicking the confusion and frustration of real-life communication breakdowns, as if each partner is on a completely different frequency, unable to find common ground. Here, O’Malley breathes new life into the familiar themes of love, miscommunication, and reconciliation, utilizing the medium in a way that truly enhances storytelling.

Adding to this intimacy, the actors’ physical presence — their movements around the room, a passing glance, or shared eye contact — invites us deeper into their world. This close engagement was perhaps the goal of Ar Ais Arís as well, but here it’s achieved through human connection rather than spectacle. Summertime proves that connection need not rely on technology alone but on the raw, emotional storytelling that lets us resonate with universal themes.

Together, these productions show contrasting approaches to connection and disconnection. Ar Ais Arís attempts to bring us closer through VR but is hampered by its technical limitations and unaddressed historical layers. Meanwhile, Summertime strips back, using mostly sound and presence to fully immerse us in its emotional landscape. Solas Nua’s double bill reminds us that technology can either strengthen or weaken theater’s power to connect with its audience. Producers need to choose wisely.

Running Time: Approximately 60 minutes with intermission.

Murmuration’s Summertime and Brú Theatre’s Ar Ais Arís run through November 17, 2024, on Thursdays through Sundays at Eaton House, 1201 K St NW, Washington, DC. For tickets ($45, with limited $10 options for select performances) and further information, visit Solas Nua’s website.

SEE ALSO:
Solas Nua to present double bill of immersive new wave theater (news story, September 30, 2024)

The post Solas Nua immersive double bill tests limits of technology in theater appeared first on DC Theater Arts.

Dear reader, although watching Dear Evan Hansen at Capital One Hall may offer a somewhat disjointed visual experience, it remains a worthwhile one, and here’s why: With a book by Steven Levenson and music and lyrics by Benj Pasek and Justin Paul, the musical delves deeply into the complexities of adolescence, mental health, and the consequences of lies born from isolation and a yearning for connection. At some point, we’ve all encountered some form of these struggles in our lives. While the production on tour at Capital One Hall tackles these emotional themes effectively, the digital set design both enhances and occasionally detracts from the show’s immersive quality.

Dear Evan Hansen follows Evan, a socially anxious high schooler who, after the suicide of his classmate Connor Murphy, is mistaken as Connor’s best friend due to a misunderstood letter. Desperate for connection, Evan perpetuates the lie, leading to a viral outpouring of sympathy for the Murphy family and newfound closeness with them. However, as the lie spirals, Evan must face the emotional and moral consequences of his actions.

A digitized backdrop is a central feature of this production, but rather than immersing viewers in specific, relatable settings — such as a school or family home — the digital backdrop feels generic. The abstract, glitchy projections of images and text seem disconnected from the characters’ world as if set in “anywhere USA.” Additionally, when characters communicate digitally, they stand on opposite sides of the stage, speaking toward either the audience or a computer. If it’s a video call, why not project it directly onto the screen? If it’s through text messages, why not project the texts as well, fully immersing the audience in this digitized world instead of relying on distorted images as a backdrop?

That said, there are moments when David Korins’ scenic design and Peter Nigrini’s projections work to the show’s advantage, highlighting how a more selective use of digital backgrounds could have been more impactful. For example, as Evan Hansen’s speech gains popularity, the barrage of tweets, news clips, and online reactions effectively amplifies the overwhelming nature of social media. Similarly, when the misrepresented “death note” goes viral, the visuals and sound effects powerfully depict the rapid escalation of events online, for better or worse. However, in quieter, more intimate scenes, the digital projections often feel unnecessary and detract from the musical’s raw emotional core. Even the blue screen backdrop behind rows of orchid plants feels artificial, underscoring how the digital world in this production has overtaken the sense of reality.

A particularly poignant moment in the show is the powerful exploration of unconventional grief in the song “Requiem” (performed by Zoe, Larry, and Cynthia Murphy). Hatty Ryan King as Zoe Murphy delivers a compelling performance, expressing relief at her brother Connor’s death, feeling liberated from the torment he inflicted on her. Meanwhile, as Larry Murphy, Jeff Brooks skillfully navigates his character’s frustration and resentment, lamenting that he gave Connor everything, only for Connor to “throw it all away.” This portrayal of unresolved grief, which deliberately avoids neat resolutions, adds layers of complexity to the show and provides the emotional depth it strives for.

Despite the archetypes in Dear Evan Hansen — the nerds who believe “people don’t care about people like us,” the single mother struggling to be enough for her child, the overachieving student proudly listing her leadership titles, and the wealthy parents searching for meaning after their son’s suicide — the actors skillfully elevate these characters beyond their stereotypes.

Michael Fabisch as Evan Hansen delivers an exceptional performance, with his panic attack during a speech standing out as a raw, intense moment that makes his anxiety palpable. Bre Cade as Heidi Hansen, Evan’s single mother, brings a perfect balance of strength and vulnerability to her role. Cade shines in one of the show’s most poignant moments when she comforts Evan in the number “So Big/So Small” with the simple yet profound line “Your mom isn’t going anywhere. Your mom is staying right here” repeated for emphasis. This moment of connection is deeply stirring and stands out as a key, if not the defining, emotional highlight of the production.

While the incorporation of the digitized set design could be improved, the strength of the performances and the emotional core of Dear Evan Hansen remain undeniable. The production skillfully navigates themes of mental health, grief, and the deep yearning for connection. Ultimately, the heart of the story — the exploration of human vulnerability and the consequences of our actions — shines through, making this a profoundly moving experience.

Running Time: Two Hours 40 minutes including a 15-minute intermission.

Dear Evan Hansen played October 18 to 20, 2024, at Capital One Hall, 7750 Capital One Tower Road, Tysons, VA.

The cast and creatives for Dear Evan Hansen are on the national tour website here 

SEE ALSO:
Broadway in Tysons returns to Capital One Hall for 2024/25 season (news story, April 25, 2024)

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There’s a singing mermaid, an underwater princess, and a magical map, all making the DC premiere of Spells of the Sea as mystical and enchanting as it gets for young audiences. But don’t be fooled — this play is filled with euphemisms that soften the reality of serious subjects like illness, referred to as “The Big Bad Sickness from the Big Bad Depths of the Sea,” and death, described as “The Misty Place.” At its heart, Spells of the Sea (music, lyrics, and book by Guinevere Govea with Anna Pickett, direction and choreography by Rachael Klein) explores the tidal waves of loss and transformation, with each scene touching the shores of our emotions and encouraging us to embrace change.

The play tells the story of Finley, a young girl on a quest to save her father by collecting three magical items: a bottle of kindness, a token of her worst fear, and the soul of a princess — all within 24 hours. This journey draws comparisons to other iconic musicals, particularly the Baker’s quest in Sondheim’s Into the Woods, where characters must gather specific items to break a curse. Both stories share an underlying message: despite loss, we find ways to move forward and create new connections and traditions.

While some compositions lean toward standard children’s show tunes, the Broadway-caliber talented cast — led by Brittney Mack’s remarkable vocal performances in the opening and closing scenes — elevates the production. A standout piece, sung by the company (Brittney Mack, Livvy Marcus, Lance Roberts, Ryan Knowles, Celia Mei Rubin, and Elisa Galindez), encourages children to “feel their feelings.” Another poignant moment occurs when the characters help each other not to drown in their fears. These themes combine to make Spells of the Sea not just a delightful children’s play but a conversation starter for all ages and a conduit for developing emotional intelligence.

Stephen Sondheim, the Father of the Modern American Musical, who died childless, once said, “Art is the other way of having children, of teaching.” The production team of Spells of the Sea embraces this idea, using their art to teach and inspire, opening the minds of young viewers and encouraging curiosity. This poignant, beautifully crafted piece of theater invites adults, with or without children, to reflect on their own lives, fears, and capacity for change.

Livvy Marcus’ portrayal of Finley Frankfurter, along with the setting, evokes another adventurous tale — Moana. Both characters are daring, venturing into the ocean to save what is most important to them. The sea serves as a backdrop in both stories, becoming another conduit for a young girl’s growth. However, scenic designer Jack Golden seems to hold back in this production. The static, sculpted blue waves on stage could be enhanced to evoke the ocean’s vastness and immersiveness — perhaps keeping the waves in a sort of constant motion? For the land scenes, the set could incorporate elements like sand, seashells, or even projections, if the space allows. The minimal set design leaves much of the atmosphere to the lighting and props. With over 500 light cues, the lighting design attempts to immerse the audience in the mystical world of the sea, though it often feels more functional than atmospheric. For adult viewers, the visual spectacle may not match the emotional stakes of the narrative, but this doesn’t seem to hold water where it matters: the whimsical sea animals, sound effects, and captivating songs still create moments of visual delight that keep the younger audience fully engaged.

The authors, Guinevere and Anna, are inspiring in their own right. Writing and producing Spells of the Sea during the COVID-19 pandemic while still in college is a remarkable feat. Their journey from college podcast producers to Kennedy Center playwrights is a testament to perseverance — working late nights, rewriting scripts, and never giving up despite the challenges they faced.

If you’re looking for a theater experience that blends fantasy with life’s most profound truths, and is touching for both children and adults, this is the play to see. As Finley’s father says, give change a big welcome.

Running Time: 60 minutes without an intermission.

Spells of the Sea plays through October 20, 2024, in the Family Theater at the Kennedy Center for the Performing Arts, 2700 F St NW, Washington, DC. Purchase tickets (starting at $25.30) online, at the box office, or by calling (202) 467-4600 or toll-free at (800) 444-1324.

The program for Spells of the Sea is online here.

Most enjoyed by ages 6 and up.

Note from the Producer: This production has partnered with Experience Camps, a national award-winning nonprofit that works to normalize grief for young people and teens. We know that grief is something we all deal with. We hope Spells of the Sea can be an exciting performance that also shares a map for how to work through these big emotions.

COVID Safety: Masks are optional in all Kennedy Center spaces for visitors and staff. Read more about the Kennedy Center’s mask policy here.

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It’s exciting to see all the elements of a play come together so seamlessly, especially when tackling African themes and representation. In Jaja’s African Hair Braiding, written by Jocelyn Bioh and directed by Whitney White, Arena Stage has hit the mark.

Walking into Kreeger Theater, you’re greeted by the pulsating beats of Davido’s Afrobeat hit “Fall” (“Banana fall on you / Prada fall on you…”) — a clear sign that the night is sure to be an entertaining one. Set in a single day at a Harlem hair braiding shop, the play features hair braiders Marie, Bea, Miriam, Aminata, Ndidi, and Jaja, hailing from Nigeria, Senegal, Ghana, and Sierra Leone. Through their arguments and discussions with themselves, clients, and guests, they reveal struggles, desires, and sacrifices tied to the African immigrant experience in America, first-generation and dreamers included. Though there is no one defining African immigrant story, there are some commonalities most can relate to.

Naming the stars of this show would mean listing the entire cast. Melanie Brezill dazzles as a client requesting Lemonade braids, dressed in denim booty shorts and knee-high boots. Colby N. Muhammad excels as a finicky, tender-headed client, while Yao Dogbe shines in several roles including as a jewelry hawker and a two-timing husband. Every performer — Tiffany Renee Johnson, Mia Ellis, Aisha Sougou, Bisserat Tseggai — is laugh-out-loud hilarious, and each entirely embodies their character archetype (some playing multiple roles).

Standouts include Awa Sal Secka, whose portrayal of Bea, the quintessential African aunty, is nothing short of brilliant. Clad in a traditional skirt and blouse, a curly red wig, and red shoes and bag to match, she has something to say about everybody and does not shy away from confrontation. In fact, she looks for it and sometimes gets it served back to her. Her African-aunty theatrics are right on the nose — she faints, she yells, she gossips, yet Secka’s Bea is both respectable and endearing, evolving into the group’s backbone when trouble arises.

Victoire Charles’ dramatic entrance as Jaja in a mermaid wedding dress with sleeves and gold-rimmed veil is a theatrical high point. Despite a brief and somewhat speechy role, Charles drives the narrative forward toward a sudden turn of events with powerful lines about her own assimilation struggles. Jordan Rice as Marie, Jaja’s daughter, skillfully embodies a first-generation American burdened with her parents’ high expectations and even higher stakes as a dreamer.

Additional highlights include lively dance breaks and money spraying, the humorous Nollywood meme “Why are you running?”, and a soundtrack featuring Tiwa Savage, Ayra Starr, and Kizz Daniel. It’s surprising that the ever-popular jollof wars don’t make an appearance.

Jocelyn Bioh, known for her insightful exploration of identity, race, and ethnic experiences, has crafted a play that feels authentic and engaging. This is not always easy to pull off, especially when it comes to accessing cultural materials, clothing, props, and accents (shout out to dialect and vocal coach Yetunde Felix-Ukwu, who has done an exceptional job!). Credit for this production’s success also goes to the talented team behind Jaja’s Broadway run, including director Whitney White, set designer David Zinn (Tony Award winner),  costume designer Dede Ayite (Tony Award winner), lighting designer Jiyoun Chang, original music and sound designer Justin Ellington, and hair and wig designer Nikiya Mathis (Tony Award winner).

Their combined expertise has reproduced this exceptional production in Washington, DC, proving that when it comes to theater, this team truly knows how to make a lasting impression, anywhere.

Running Time: One hour and 30 minutes, with no intermission.

Jaja’s African Hair Braiding plays through October 13, 2024, in the Kreeger Theater at Arena Stage, 1101 6th Street SW, Washington, DC. Tickets may be obtained online, by phone at 202-488-3300, or in person at the Sales Office (Tuesday-Sunday, 12-8 p.m.). Arena Stage offers savings programs including “pay your age” tickets for those aged 35 and under, student discounts, and “Southwest Nights” for those living and working in the District’s Southwest neighborhood. To learn more, visit arenastage.org/savings-programs.

The program for Jaja’s African Hair Braiding is downloadable here.

COVID Safety: Arena Stage recommends but does not require that patrons wear facial masks in theaters except in designated mask-required performances (Saturday, September 14, at 2 p.m.; Tuesday, October 8, at 7:30 p.m.). For up-to-date information, visit arenastage.org/safety.

Jaja’s African Hair Braiding
A Manhattan Theater Club production
By Jocelyn Bioh
Directed by Whitney White
A Co-Production with Berkeley Repertory Theatre and Chicago Shakespeare Theater
In Association with Madison Wells Live and LaChanze

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There may be no theater better suited to tackle as moving yet racially charged a musical as Memphis (book and lyrics by Joe DiPietro, music and lyrics by David Bryan) than one that has lived through the era the show depicts. The Little Theatre of Alexandria, announcing its 90th anniversary (1934–2024), likely experienced a level of segregation similar to that of 1950s Memphis, Tennessee. However, under the direction of Rikki Howie Lacewell, this somber yet hopeful production, combined with the theater’s historical context, reminds us of how far we’ve come in music and theater arts.

The musical, which won four Tony Awards in 2010, goes beyond merely depicting a historically accurate time period; it is based on the true-life events of DJ Dewey Phillips, who believed that music—like everything else in life—transcends race. In the musical, Huey Calhoun represents Phillips, a disc jockey determined to desegregate the airwaves. He falls in love not only with what the book refers to as “nigger music” but also with a Black woman, which was illegal at the time. Despite the personal costs, he remains steadfast in his convictions.

Xander Conte delivers a commendable performance as Huey Calhoun. Conte’s portrayal of the Southern white boy, complete with plaid pants and a mister hat, is so convincingly authentic that it initially raises doubts about whether his character can genuinely challenge the status quo. However, Conte’s compelling words and actions dispel these doubts. His duet with Khanner Hancock (playing Felicia Farrell, from July 20 to 28, with exceptional class and style) in “The Music of My Soul” (Huey, Felicia, and Company) effectively emphasizes key moments, delivering a performance that is both impactful and chilling.

Other notable numbers include “Make Me Stronger” (Huey, Mama, Felicia, and Company). The ensemble’s appearance in yellow and blue choir robes (costume design by Farrel Hartigan and wardrobe by Robin Worthington) is visually striking. Nikki Arbiter-Murphy’s portrayal of Mama Gladys Calhoun, participating in “race music” despite her initial resistance, is powerful, illustrating how music and lyrics transcend racial boundaries. However, increasing the microphone volume for her performance in this number, as well as in “Change Don’t Come Easy” (Mama, Delray, Gator, and Bobby), would enhance the overall effect.

Otega Okurume, as the suspicious and protective older brother Delray, sings with considerable passion in “She’s My Sister” (Delray and Huey), urging Huey to protect Felicia. A particularly poignant moment occurs shortly after when Felicia is brutally beaten for being with Huey. Her face, covered in blood and bruises (thanks to the exceptional work of makeup designers Kadira Coley and Larissa Norris), fuels her brother’s readiness to confront Huey. In a powerful moment, Kemuel Van Der Puije, playing Gator, commands the theater’s attention with his first line of the night—a single, commanding word: “Stop!” He then sings “Say a Prayer” for racial change and tolerance (Gator and Company) with a solemnity and emotional depth that profoundly resonate with the audience.

Properties designer Geoffrey Baskir effectively incorporates historical elements into the musical with giant front pages in “Radio” (Huey and Company). The pages not only depict Huey’s growing popularity but hint at the real-life DJ Dewey Phillips, who “brought Black music to 100,000 listeners throughout segregated Memphis.” While the Memphis Band performs admirably, some numbers sounded slightly off compared to the original Broadway cast recording, though the reasons for this discrepancy are not immediately clear/for reasons my untrained ears cannot pinpoint.

Overall, this production by the Little Theatre of Alexandria is both beautiful and exceptional. I hope that director Rikki Howie Lacewell continues to bring stories to our local stage that challenge conventions and “change the paradigm as far as what people are accustomed to seeing.”

Running Time: Two Hours 30 minutes including a 15-minute intermission.

Memphis plays through August 10, 2024, at The Little Theatre of Alexandria, 600 Wolfe Street, Alexandria, VA. To purchase tickets ($36 + $3 fees), go online or contact the Box Office via phone (703-683-0496) or email (boxoffice@thelittletheatre.com).

The program for Memphis is online here.

COVID Safety: Face masks are optional.

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When Awa Sal Secka, clad in a strapless brown dress with a side slit, steps onto the stage and reveals that she once struggled with being a performer (in high school), it’s a surprising admission. As the evening unfolds, her charismatic presence is nothing short of remarkable. Secka sings fluidly between various emotional states — from glamorous “feeling pretty” and introspective “feeling misty” to politically charged and everything in between — demonstrating her versatility. She performs well-known songs by iconic female jazz artists such as Sarah Vaughan, Nina Simone, Ella Fitzgerald, Dinah Washington, and Nancy Wilson, skillfully blending personal stories and social commentary to infuse the lyrics with contemporary relevance.

The chemistry between Secka, who exudes warmth and cheer, and her musical collaborators, music director/pianist Joshua Jenkins and bassist/co-arranger Stephen Arnold, is palpable. Their synergy creates an inviting and friendly atmosphere in the room. Secka engages with the audience, compliments our appearance, and then tilts her head with a sheepish grin before asking “Guess what?” and launching into a rendition of “I Feel Pretty” (inspired by Sarah Vaughan’s performance).

Following this, Secka performs one of the songs she auditioned with in her early years, “My Funny Valentine/Embraceable You” (inspired by Sarah Vaughan’s performance), which she admits to having “zhuzh-ed” up with an uptempo beat. Jenkins’ piano solo in this number stands out, offering a moment of brilliance, which along with Arnold’s bass solo in “Summertime” (words and music by George Gershwin) delectably highlights an already beautiful evening.

Secka, who possesses an exceptional talent for capturing the style of various jazz artists, sings with a more piercing intensity when she transitions to “I Put a Spell on You” (inspired by Nina Simone’s performance). She explains that Simone “really taught me how to be a musician without extending myself in a way that felt uncomfortable.” Sometimes, Secka’s voice is airy, sometimes breathy, and this is evident in “Guess Who I Saw Today” (inspired by Nancy Wilson’s performance). She uses a lot of scat singing in “How High the Moon” (inspired by Ella Fitzgerald’s performance) throughout the evening, accompanied by finger snapping and foot tapping.

Other highlights of the evening include “If I Were a Bell” (inspired by Dinah Washington’s performance). In this number, when Secka sings “If I were a duck, I’d quack,” she puffs out her chest for emphasis; “If I were a goose, I’d be — ” she pauses — “cooked.” She also quips, “If I were a salad, I’d be Caesar,” before continuing with the original lyrics. Though she says she means every word of it, she maintains a lighthearted, humorous touch in “Mississippi Goddam” (words and music by Nina Simone, inspired by her performance) with lines like “…and the news about the presidential election gon’ make me lose my rest…,” and in “My Baby Just Cares for Me” (inspired by Nina Simone’s performance), adding “Beyoncé’s not his style.”

Signature Theatre’s Summertime: Awa Sal Secka Sings Ladies of Jazz was not only entertaining, but demonstrates considerable talent while also honoring the aforementioned jazz greats. At the end of the evening, Secka says, “I’d stay here all night if I could,” and judging by the standing ovation and applause, it’s safe to say most of us shared her sentiments.

Running Time: Approximately 75 minutes, no intermission.

Summertime: Awa Sal Secka Sings Ladies of Jazz plays through August 4, 2024, in the ARK Theatre at Signature Theatre, 4200 Campbell Avenue, Arlington, VA. For tickets ($46) call (703) 820-9771 or purchase online. Information about ticket discounts is available here.

Song List

TAKE THE A TRAIN
Words & Music by Billy Strayhord
Version originally sung by Sarah Vaughan

I FEEL PRETTY
Words & Music by Leonard Bernstein & Stephen Sondheim
Version originally sung by Sarah Vaughan

MISTY
Words & Music by Erroll Garner
Version originally sung by Sarah Vaughan

MY FUNNY VALENTINE/EMBRACEABLE YOU
My Funny Valentine: Words & Music by Richard Rodgers & Lorenz Hart
Embraceable You: Words & Music by George Gershwin
Version originally sung by Sarah Vaughan

I PUT A SPELL ON YOU
Words & Music by Screamin’ Jay Hawkins
Version originally sung by Nina Simone

BLUE SKIES
Words & Music by Irving Berlin
Version originally sung by Ella Fitzgerald

BEWTICHED, BOTHERED AND BEWILDERED
Words & Music by Richard Rodgers & Lorenz Hart
Version originally s by Ella Fitzgerald

IF I WERE A BELL
Words & Music by Frank Loesser
Version originally sung by Dinah Washington

SUMMERTIME
Words & Music by George Gershwin
Version originally sung by Sarah Vaughan

WORK SONG
Words & Music by Oscar Brown, Jr. & Nat Adderley
Version originally sung by Nina Simone

MISSISSIPPI GODDAM
Words & Music by Nina Simone
Version originally sung by Nina Simone

MY BABY JUST CARES FOR ME
Words & Music by Gus Kahn & Walter Donaldson
Version originally sung by Nina Simone

GUESS WHO I SAW TODAY
Words & Music by Murray Grand & Elisse Boyd
Version originally sung by Nancy Wilson

THE SONG IS YOU
Words & Music by Jerome Kern & Oscar Hammerstein II
Version originally sung by Nancy Wilson

HOW HIGH THE MOON
Words & Music by Morgan Lewis & Nancy Hamilton
Version originally sung by Ella Fitzgerald

FLY ME TO THE MOON
Words & Music by Bart Howard
Version originally sung by Sarah Vaughn

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