How do you teach someone to be human? The latest production from Flying V, Carla Milarch’s Doctor Moloch, thinks it has an answer: you can’t. Humanity comes from within, says the playwright; it’s either there or it isn’t. The real question is knowing when and how to use one’s own humanity for good. 

With this uncharacteristically straightforward production from a company more frequently known for immersive and “out of the box” experiences, Madeleine Regina nonetheless directs Milarch’s three-hander with gusto and elegance. At its core, Doctor Moloch offers a meditation on human empathy, relationships, and trust in the most unlikely, but timely, of avenues: artificial intelligence. In the not-too-distant future — the year 2029 to be exact — Silicon Valley tech mogul Mo (Andrew Chi) has nearly perfected the first humanoid AI robot, Doctor Moloch (James Finley). Moloch was designed to advance the medical field with unprecedented speed and accuracy. The trouble is, Doctor Moloch’s bedside manner could use some work. Mo believes he can help Moloch become more empathetic and gentle by hiring Academy Award–winning actress Serena Blaise (Nhea Durousseau), a self-proclaimed expert in human behavior, to teach him. Old-school artistry meets sci-fi thriller in Milarch’s smart and savvy drama. 

As if seen through the AI bot’s own eyes, a luminous molecular backdrop blinks to life as Moloch enters a secure interior setting. Dom Ocampo’s minimalist set design succeeds with the help of Malory Hartman’s lightscape, which effectively captures both the simulated dreamworld of Silicon Valley and the nightmare that lies beyond its reach. Modeled as a conventionally attractive young man dressed in muted khakis, teal, and grey sportswear, Moloch enters the playing space causally but with a touch of artificial poise. Inviting an abundantly skeptical Serena into the room — she is already entangled in a lawsuit over the use of AI representation in the media — Mo reveals the extremely lucrative task at hand: 10 million dollars if she succeeds in teaching Moloch to act more like a human. 

Costumed simply but with astute attention to character detail by Nyasha Klusmann, each character embodies an archetypal trope in a greater conversation about scientific advancement. Mo is after the money; Serena mourns the loss of human integrity; and, most ironically — and perhaps most persuasively — Moloch encapsulates our most significant and most unspoken fears regarding AI: how do we control it? And how much are we willing to risk for it?

Durousseau’s blasé cynicism pairs well with Finley’s cool, considerate altruism, creating a calculated yet deeply intimate tension in this small-scale epic. Durousseau’s take on Serena is refreshingly consistent but somehow muted compared to Finley. Chi’s Mo provides much-needed comic relief but, first and foremost, steers the plot and its many twists and turns. The director seemed to aim for a more stylistic approach to the script. While visually compelling, this approach felt limiting in terms of character payoff. For a script so focused on the meaning of empathy, it’s a little challenging to empathize with the characters themselves. 

Though hesitant at first, Serena and Moloch form an unexpected bond over the course of Milarch’s play. Durousseau and Finley’s chemistry was best exemplified when Moloch supported Serena over the loss of her son to addiction. Despite their emerging sense of trust and friendship, Moloch, however, is bound by the rigidity of Azimov’s laws (a plot device borrowed from 1940s science fiction author Isaac Asimov, who articulates these laws in several of his stories). According to Asimov’s Laws: 1) a robot may not injure a human being or, through inaction, allow a human being to come to harm. 2) A robot must obey the orders given to it by human beings except where such orders would conflict with the First Law. 3) A robot must protect its own existence as long as such protection does not conflict with the First or Second Law. Yet, there is a fourth law, unbeknownst to anyone except the manufacturer: A robot may not divulge information that could jeopardize its owner’s market cap. In obeying each of these laws, Moloch ensures his ability to protect and serve the human species at all costs. But there is a catch. In following each of these laws, Moloch self-polices his own humanity, remaining unable to recognize his own emotional instincts — which can be as tied to love as they are to hate for the human race.

As the playwright smartly borrows from Supreme Court Justice Potter Stewart: “Ethics is knowing the difference between what you have a right to do and what is right to do.” In a dynamite second act, Milarch’s drama heats up as each character weighs the pros and cons of AI’s existence and looks directly into Moloch’s future — a future that will unwittingly shape the impact of human security as we know it. With so much left to be explored about the ethics of artificial intelligence, Flying V’s timely production reminds us that humanity may be difficult to define, but that it often reveals itself in moments most difficult to face. 

Running Time: 110 minutes, including one intermission.

Doctor Moloch plays through November 2, 2025, presented by Flying V performing at Silver Spring Black Box, 8641 Colesville Road, Silver Spring, MD. For tickets ($35), purchase them online. Learn more here.

The program is online here.

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The year is 1816. The place, Villa Diodati in Lake Geneva, Switzerland. The players are Mary Shelley née Godwin, her husband Percy Bysshe Shelley, her sister Claire Clairmont, Lord George Gordon Byron, and Byron’s physician John Polidori. The name of the game is: who can write the best ghost story over the course of one evening. The rest is history.

Rorschach Theatre bravely ventures into the unknown with the world premiere of So Late Into the Night, a contemporary rock musical by Shawn Northrip that reimagines the events of this evening on Lake Geneva that birthed Shelley’s world-famous novel Frankenstein. Northrip’s take on this legendary dinner party does not stop at ghost stories, however. The playwright conjures a full-blown seance where Lord Byron ill-advisedly summons a demonic ghoul to foretell how each person sitting at the table will die — and in what order. Lest our theatrical imagination dare to stop here, Northrip’s play also features a present-day rock band from Dayton, Ohio — referred to as “The Shelleys” — who are invited by the Ghoul to accompany these literary greats for an evening of dark and debaucherous magic. Providing apt commentary from the future, it is here that The Shelleys just might find the inspiration to finish the album they’re writing based on these very events.

Under the cover of darkness, we first encounter the dapper flirt Percy Shelley. Yet it is not his future wife Mary in his arms but rather her sister, Claire. When we do meet Mary, she is bemused but not angry with Percy, revealing a polyamorous pentagon shared between Mary, Percy, George, aka Lord Byron, Claire, and Polidori. Darker deeds take hold of the situation when George’s incantation summons The Ghoul — Adian Chapman as a leather-studded satyr with an attitude and a pair of combat boots to match. Nightmares begin to unravel and harsh secrets are revealed when these five young poets look with wide eyes into their own grim futures. As the characters continually remind us, the only thing they fear is obsolescence.

Isabelle Jennings Pickering plays the altruistic Mary with great attention to character detail, conjuring us into the writer’s innermost heartache. Maxwell Ross is equally compelling as her soon-to-be husband, Percy, whose death scene is among the most tragic and heart-pounding moments of the play. Paul Pelletier Jr plays the infamous cad Lord Byron as such, but with the slightest hints of insecurity beneath his proud demeanor. Jason Zuckerman plays Polidori admirably but demonstrates remarkable range with a number of secondary roles as well. Finally, Sydney Dionne is enchanting as Claire, the figure we know the least and thus hold the most curiosity about. Lydia Gifford as Trillian (lead vocals/keys) is a compelling narrator and virtuosic musician. She is accompanied by Veronica Rose Bundy on guitar, Billy Bob Bonson on bass, and Dani Ray on drums, all of whom come well equipped with snarky commentary and alt-’90s flair.

Directed by Jenny McConnell Frederick, So Late Into the Night catches us by the throat and leads us briskly into a confrontation with fate. The production, however, most immediately succeeds thanks to its unique and immersive stage design. Set designer August Henney seats everyone — some audience members included — at an oversized table doubling as the stage where this satanic seance becomes as much an experience as a theatrical event. Dean Leong’s lighting design infuses the warehouse venue with ghoulish rock-glamour. From sultry flickers of candlelight to brazen LEDs, plus proto-period costuming by Jessica Utz, the overall aesthetic evokes a sense of transcendent liminality. It appropriately splits us between the play’s two major settings: a grungy Dayton music hall and the enchanted Geneva dinner party. Brandon Cook’s sound design adds extra spooky flavor to the already damning occasion.

So Late Into the Night is imaginative and thought-provoking — and makes an ideal October outing. It is likewise well-cast and well-acted, albeit occasionally meandering (the unique stage layout succeeds experientially but begets some awkwardness for its actors). The script, however, is in need of some refinement, as it appears to jump from idea to idea without clear direction.More than that, So Late Into the Night seems to take the term “fan fiction” a bit too literally. Trillian’s bizarre fanaticism for the long-dead Shelleys feels like her only defining character trait, and throwaway resolutions fail to land as effectively as the playwright might have hoped. The script’s worst offender is that, seemingly out of nowhere, So Late Into the Night attempts to reclaim Claire Clairmont as a feminist icon when most of the play’s discussions about femininity and womanhood are otherwise centered on childbearing and cheating ex-boyfriends.

Much as Shelley did with Frankenstein, So Late Into the Night meditates on what happens when we fly too close to the sun. The production’s greatest irony is that it might inadvertently be doing exactly that. The idea of theatricalizing the Geneva dinner party has legs, and that is where Northrip’s drama is most compelling. The production is likewise admirable and at times truly frightening (in a fun way!). But, in all honesty, trying to decipher a concept musical from a concept musical about writing a concept musical is where this critic gets extremely lost. Rorschach’s production does excellent work to capture the essence of gothic horror, but — without any disrespect to “goth mommy” Shelley — they appear unsure about how to rein in the monster they’ve unleashed.

Running Time: Two hours and 30 minutes, with one intermission.

So Late Into the Night plays through November 2, 2025, presented by Rorschach Theatre performing at The Stacks at Buzzard Point, 101 V Street SW. Showtimes are Thursdays, Fridays, and Saturdays at 8:00 PM and Sundays at 3:00 PM. Tickets are $50 for adults, $35 for students and seniors, with a limited number of $20 “InkTix” available for each performance. Purchase tickets online.

The program is online here.

The play is recommended for ages 13 and up. (See content information here.)

So Late Into the Night
By Shawn Northrip
Directed by Jenny McConnell Frederick
Music Directed by Nathan Nichipor

SEE ALSO:
Rorschach to open ‘So Late Into the Night’ at The Stacks in Buzzard Point (news story, September 2, 2025)

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DC audiences love a classic musical; there is no doubt. But someone always needs to steer the ship. One thing each of the musical revivals mentioned above had in common was their virtuosic leading man, Nicholas Rodriguez. After a brief hiatus in New York, Rodriguez returns to the DC stage this fall with The Sound of Music, now playing at the Kennedy Center through October 5.

Rodriguez played the role of Captain Georg von Trapp when O’Brien’s version of the musical premiered at the Kennedy Center in 2017. DC Theater Arts reported: “His heartfelt and teary singing of ‘Edelweiss’ as he is preparing to flee his beloved Austria will move you to tears.” The actor moves slightly out of the spotlight in this version of the tour, taking on the supporting role of Max Detweiler, or “Uncle Max,” a role made famous in the film version of the musical by actor Richard Haydn. However, in the musical version of Rodgers and Hammerstein’s classic, the character of Max is significantly more fleshed out than in the film, and even sings two songs: “No Way to Stop It” and “How Can Love Survive.”

Almost a decade has passed since the then-lead theater critic of The Washington Post, Peter Marks, rightly referred to Rodriguez as “the nicest guy in show business.” But the sentiment is still true today. This gifted yet humble performer can certainly prove his talent on stage, but, as many know, it’s those behind-the-scenes interactions that matter most. Rodriguez spoke with DC Theater Artsabout his work on the national tour of The Sound of Music, stepping into this brand new role, and how valuable it can be for a young actor to find their footing in the theatrical communities of Washington, DC. Here’s what he said:

DC is proud to be the first stop on this national tour. What excites you most about bringing The Sound of Music home to Washington, DC?

Washington, DC, has always felt like a second home to me. Over the past 16 years, I’ve had the joy of performing here and building meaningful friendships and connections. The audiences are incredibly smart, loyal, and deeply passionate about theater. Being able to open The Sound of Music in DC — especially in this new role — is both exciting and daunting. There’s a special kind of energy and responsibility that comes with launching a new production at the Kennedy Center, but I can’t wait to share this story with DC and with the country, alongside this incredible cast.

For many younger audiences, this might be their first Broadway show. How does that make you feel?

It’s thrilling — and a little humbling! You always remember your first time. I vividly remember the shows that first sparked my love of theater, so the idea that The Sound of Music might be that moment for someone else is really special. This story is so full of heart, music, and meaning — it’s the perfect introduction to the magic of live theater for all generations of theatergoers.

What do you think makes The Sound of Music resonate with so many people? Do you have any early, or otherwise personal, memories of this musical?

It’s timeless. Beyond the beautiful music, it speaks to themes of love, faith, family, and courage in the face of political unrest — all of which still resonate deeply today. Growing up, my family watched the movie every year. But truthfully, I never imagined I’d be part of it — because I didn’t see anyone who looked like me in the cast, which is one of the reasons it means so much to be here now, telling this story in my own way.

From Billy Bigelow in Carousel to Captain von Trapp to Curly in Oklahoma! — playing a leading man comes with a lot of responsibility! How do you bring your own self into these classic musical theater roles, and what do you do to ensure the characters are truly your own?

I always try to start with authenticity — who I am, and what my experiences bring to the table.

That’s why playing Max now, after having played Captain von Trapp eight years ago at the Kennedy Center, is a totally different challenge. Jack O’Brien, our director, has encouraged me and challenged me to go deeper and find a Max who reflects my voice and experiences — someone who’s still true to the script, but also surprising and fresh. Max may be different from Curly, Billy, and Georg, but my hope is that he is authentically Nicholas.

What advice would you give to a young actor trying to break into the theater industry in DC or elsewhere?

Be authentic, be prepared, and be kind. Work on your craft constantly, but also invest in relationships. The theater world is built on collaboration, and being someone others want to work with is just as important as talent. And don’t be afraid to bring your full self to the table — even if you don’t see someone like you on the stage yet. Get involved!  There are so many theaters of all types in the DC area looking for talent on and off stage.

Finally, what are some of your “favorite things” about the DC theater community?

Oh, where do I start? This is one of the most inclusive communities I’ve ever been a part of.  It’s truly a family.  Some of the best friends in my life come from working in DC.  We look out for each other and lift each other up.  I can’t wait to see some of these other amazing actors at Arena, Signature, Round House, and other theaters while I’m here, and more importantly, getting together at night after our shows! There’s a genuine love for theater in this town — it’s not just entertainment; it’s part of the cultural fabric. I love how supportive the community is, both for local talent and those of us from out of town. It feels like coming home every time I perform here.

Rodriguez is joined on stage at the Kennedy Center by Cayleigh Capaldi as Maria Rainer, Kevin Early as Captain Georg von Trapp, Kate Loprest as the Baroness Elsa Schrader, and Christiane Noll as Mother Abbess. I would be remiss not to also mention the talented cast of young actors playing the seven von Trapp children: Ariana Ferch, Eli Vander Griend, Ava Davis, Benjamin Stasiek, Haddie Mac, Ruby Caramore, and Luciana Vandette.

Running time: Two hours and 45 minutes, including a 20-minute intermission.

The Sound of Music on national tour plays through October 5, 2025, in the Opera House at The Kennedy Center for the Performing Arts, 2700 F St NW, Washington, DC. Purchase tickets ($49–$225) online, through TodayTix, or by calling (202) 467-4600 or toll-free at (800) 444-1324. Box office hours are Monday-Saturday, 10 am-9 pm, and Sunday 12 pm-9 pm.

A limited number of Rush tickets will be available for every performance at the Kennedy Center Box Office the day of the performance. $39 for Sunday evening through Thursdays and $49 for Fridays through Sunday matinees. Rush tickets become available 2 hours prior to each performance, with the exception of availability starting at 12 p.m. for Sunday matinees. Tickets are subject to availability and have no guaranteed location.

The program for The Sound of Music is online here.

SEE ALSO:
Timeless ‘Sound of Music’ on tour at Kennedy Center climbs every mountain (review by Isabella Artino, September 15, 2025)

The post Nicholas Rodriguez returns to DC stage in ‘Sound of Music’ at Kennedy Center appeared first on DC Theater Arts.

Picture twinkling stars above the Scottish countryside, a six-piece band playing lively tunes, glasses of whisky with which to raise a toast, two sets of bagpipes, an abundance of tartan, singing, dancing, laughter in every corner of the room, and a sea of confused Americans trying to keep up. Directed by Sam Pinkleton (Broadway’s Oh, Mary!), the North American premiere of Ceilidh has furiously swept into Baltimore, and it’s pure dead brilliant.

If you don’t know what a “ceilidh” is, then chances are you’ve just now mispronounced the word as well. A ceilidh (KAY-lee) refers to a traditional Scottish social gathering involving dancing, music, and storytelling. In Scott Gilmour and Claire McKenzie’s aptly-titled musical (now playing at the M&T Bank Exchange through October 12), audiences are quick to learn of this age-old tradition. However, the Gaelic origins of a ceilidh actually point to something much simpler: in Gaelic, “céle” means “companion.” Part musical fable and part social dance, Ceilidh is about the connections we forge with one another, be they over one fleeting moment or across an entire lifetime.

Gilmour and McKenzie have crafted an intergenerational story about music, love, and community — all of which tenets lie at the heart of every ceilidh. The plot follows a young man named Ramsay MacLavaney (played by Gilmour) and his father, a legendary ceilidh caller named Leo. Their family comes from a long line of callers as foretold by a raucous little ditty called “The MacLavaney’s.” According to this musical, a good caller can ensure the synchronicity and togetherness of the ceilidh, no matter how much or how often the dance moves themselves may change.

Still, there is no point to a ceilidh without an invitation to take part. Much more than a traditional musical, Ceilidh compels audiences to join them in the round. The performers — thankfully — do not pressure audience members into dancing. It is nevertheless difficult to resist their outstretched arms, which beckon us to join in the merriment full force. With the help of several ensemble members, Ramsay and Leo alternatively call live dances during the show, including but not limited to “The Military Two Step,” “The Canadian Barn Dance,” and the “St. Bernard’s Waltz.” These traditional Scottish dances have been passed down through generations and adapted for the show by the creative team. As we are reminded early on, no one has ever looked “cool” dancing a ceilidh, and while much fun can be had from the peanut gallery, this critic strongly encourages all to join in the “called” dance numbers if they are able.

Gilmour as Ramsay impressively balances narration and direct address to the audience, while also shouldering the emotional crux of the evening as he tells his father’s story. Euan Morton brings natural charisma to the role of Leo, a respectable young man whose warmth and humility resound throughout his son’s memories. Courtney Bassett plays Euna, a witty and “bonny” young woman from England who is quickly won over by the ceilidh tradition — and its finest caller, Leo. Her rapturous performance of “The Thistle and the Rose” secures Leo’s heart, not to mention that of all of us lucky enough to witness her performance. The couple’s older counterparts are played by George Drennan and Annie Grace. Mindful of spoilers, it is safe to say their story comes to a heartfelt and deeply satisfying conclusion.

Emma McGlinchey and Charlie West are hilarious as a pair of wily Scots whose wedding serves a pivotal plot purpose for the main couple. A gifted fiddle player, Rori Hawthorn later plays McGlinchey and West’s daughter. With each cast member taking on several smaller roles, Anne L. Nathan portrays Leo’s smack-talking granny, while David Rowen steps in as Ramsay’s first and only love, Lucas. Recognizing the two men’s connection for what it is, Leo and Euna welcome Lucas into their family with open arms and a tactfully choreographed couple’s hold (“It’s All About the Hold”). Therein lies the musical’s simple yet powerful message: “Love does what love does, and who are we to question it?”

String lights line the vaulted ceiling of the M&T Bank Exchange’s unique event space, while the room is bedecked with kitschy allusions to Scottish heritage past and present. With cheeky costume pieces, kilts, and modern dress, Sarah Laux’s costume design encapsulates a dry but gleeful sense of humor not unfamiliar to that of one of the musical’s most well-known producers, Alan Cumming. While scenic designer Rachel Hauck has primarily commandeered the venue for the social dance portion of the evening, Isabella Byrd’s lighting design ushers us into near and distant memories.

Deceptively simple in its conceit, Ceilidh is unlike anything you might catch on Broadway or elsewhere this fall. For DC theatergoers hesitant to travel to Baltimore for this production, I have but one bit of advice: find yourself a hand to hold because, with so much love about this musical — and so many places to find love within it — the journey proves well worth the price of the trip.

Running Time: Two hours and 30 minutes, including one intermission.

Ceilidh plays through October 12, 2025, at M&T Bank Exchange at the France-Merrick Performing Arts Center, 401 W Fayette Street, Baltimore, MD. For tickets (starting at $45), purchase them online. Learn more here.

The program is online here. Cast and creative credits are here.

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