“Okay, cats, throw your mittens around your kittens, and away we go!” Deejay Vince Fontaine, the “Main Brain” from WAXX, implores the crowd to get with it and dance up a storm. Gals in gowns and guys with slicked-back hair tear up the gymnasium floor and hand-jive like there’s no tomorrow.

This can only be describing one legendary musical: Grease. Yes, the show that really reignited the 1950s nostalgia craze in the early 1970s and has been entertaining audiences the world over ever since. The show’s reputation only grew when the 1978 film adaptation blew up and propelled John Travolta and Olivia Newton-John into the heavens, driving their magic hot rod into the sunset.

But we’re here to talk about the original Grease — the stage musical, now playing to capacity crowds at Little Theatre of Alexandria. This distinction needs to be addressed because if you want to hear “Hopelessly Devoted to You” or “Sandy” or the show-stopping “You’re the One that I Want,” pull out your DVD and watch. Those songs were added to the over-stuffed 1978 film, along with other 1950s tunes thrown in for atmosphere.

Director Frank D. Shutts II and his production have returned to the source, i.e., the original book and score of Grease, by sole authors Jim Jacobs and Warren Casey. Loosely inspired by their own high school adventures from the late 1950s, this show was bottom-line their creation: story, music, and lyrics. The tunes echo pop hits from the old juke box, and the story is nearly as old as time: Will the pure good girl end up with the handsome bad boy? 

Before we talk about performances and performers, a note about the content. This show was made by grown-ups for grown-ups. Sure, Grease is wildly popular with schools as well as community and professional theaters — mostly because it usually guarantees big box office returns. But schools have the option to choose a toned-down version of the script. This is not the “school version.” The language and innuendo are wide open here. This is not a criticism but just a note about the language and subject matter. Take it or leave it.

Grease is a total trip down memory lane. The show goes beyond nostalgia, since many of us were not alive when Eisenhower was president and black-and-white televisions showed “The Mickey Mouse Club.” But we can all relate to those days of high school angst and fun, no matter what year we graduated. All anyone has to do to enjoy Grease is sit back and let the music and characters take you back to a simpler time. Shutts knows this and allows the show and his talented cast to get on with the action. 

Suzy Alden, Shutts’ choreographer, keeps the movement lively and period-perfect, with step-touch-step-touch, doo-wop footwork, and grander lifts and thrills for the big numbers. Adding punch and drive to the show is the live band, tucked away onstage above the action, snappily led by Mark V. Deal. The seven-piece ensemble rocks out and makes the show sound right in step with the ’50s-pastiche tunes, supporting the actors with every number.

Leading the cast of greasers and bobby-soxers are Shannon Hardy and Jake C. Schwartz as Sandy and Danny, respectively. Hardy, complete with blonde ponytail, is the essence of the sweet, fish-out-of-water, sheltered school girl, fresh from Catholic school, now fending for herself in a rough and tumble public school. With thick, wavy hair and the requisite leather jacket, Schwartz strides through his scenes with an easy, swaggering charm; Danny might be a bad boy to his pals, but he’s mostly a pussy cat around Sandy. Hardy and Schwartz also have the vocal chops to handle their big numbers, starting with “Summer Nights,” recounting their vacation rendezvous, joined by their classmates eager for the juicy details. They also impress with their penultimate number together, “All Choked Up” (the original song replaced with “You’re the One That I Want” for the movie). 

Flying solo, Hardy tugs the heartstrings with her reprise of “Look at Me, I’m Sandra Dee,” revealing the wounded bird inside yearning to embrace her wild side. And Schwartz, backed up by his gang, evokes pop idols of yesteryear with his rendition of “Alone at the Drive-in.”

Danny and Sandy’s fellow Rydell Ringtails are a lively bunch, each bursting with energy and youthful pizzazz. Danny’s entourage, going by the original moniker “The Burger Palace Boys” (“T-Birds” in the movie), fill up the stage with friendly shenanigans and work together like ringedy-ding-dong, to quote one of the songs. Matt Yinger is wild as the second-in-command Kenickie, who leads the showstopping “Greased Lightning.” As innocent and goofy Doody, Jonathan Grygiel is endearing. His ringing tenor voice brings to mind Paul Anka singing “Those Magic Changes.” Ryan Walker is an even bigger goofball as Roger, known as the king of the mooners who gets to (ahem) bare himself in the charming duet “Mooning,” with Allyson Markussen’s food-obsessed Jan. Rounding out the Burger Palace Boys is Hugo Del Pino Jr. as Sonny La Tieri, the resident lady-killer — or so he thinks.

Their feminine counterparts, the “Pink Ladies,” are a mix of sassy, brassy, ditzy young broads, and they are always entertaining. Markusson’s food-obsessed Jan is everyone’s friend. Not the best student, Frenchie is the one who tries beauty school only to drop out and return to Rydell. Sydney Morefield plays Frenchie endearingly, complete with thick, New Yawk-ish accent. As the fashion-plate of the bunch, stylish Marty is brought to life by Gabrielle Priest, who makes the most of her scenes and her featured number “Freddy, My Love,” bringing back memories of Connie Francis or Etta James. 

And as the prime “Pink Lady,” Lourdes Turnblom is Rizzo, the bold and mouthy alpha-dog, quick with a quip and withering look to all beneath her. Turnblom’s turns bloom when she pops out her signature song, “Look at Me, I’m Sandra Dee,” poking fun at Sandy and her squeaky image. She also shines with the 11 o’clock number, “There Are Worse Things I Can Do,” pouring out her heart and soul.

Other Rydell Ringtails that make the grade are Mollie Becker as the uppity cheerleader Patti, Ryan Brown as Vince Fontaine, the slick radio announcer, and Cha-Cha, a chick from a rival school who crashes the big dance. These actors bring laughs galore and embody the spirit of the exaggerated nostalgia on display.

Stepping out of the lively ensemble, Brady Misustin is the boy singer Johnny Casino (“Born to Hand-Jive”), Garret Rinker warbles winningly as Frenchie’s teen guardian angel, with the song “Beauty School Dropout,” and as a radio singer, Marissa Michaels duets with Hardy’s Sandy for the sweet and sad “It’s Raining on Prom Night.” 

The action and fun all take place on a unit set that brings back memories of cinderblock walls, lockers, and the smells of the school cafeteria — all courtesy of Julie Fischer’s functional set design. The actors are aided in their performances by the period-perfect wigs and hair designed by Andre Hopfer, and the wardrobe by the design team of Jean Schlichting and Kit Sibley, with assistance from Janis Johnston. The busy Ken and Patti Crowley provide a colorful lighting design that enhances the production. The award-winning lighting duo are currently also represented at Prince William Little Theatre’s Woman in Black.

No matter what era you grew up in — for some of us, it was the MTV-era of the mid-1980s — those days when your entire life was still before you and the biggest decisions you had were whether the cute girl from the marching band had a date to the prom were golden. Grease celebrates the innocence (accented by a little raunchiness, of course) of the late 1950s and does it very well. Shutts’ production and cast are ready to welcome you to Rydell for a drive down memory lane.

Running Time: Approximately two hours with one 10-minute intermission.

Grease plays through November 15, 2025, presented by Little Theatre of Alexandria, performing at 600 Wolfe Street, Alexandria, VA. To purchase tickets ($36, reserved seating), go online or contact the Box Office via phone (703-683-0496) or email (boxoffice@thelittletheatre.com).

The program for Grease is online here.

LTA is holding a 1950s costume contest with prizes for the October 31 Halloween performance. Patrons are invited to come dressed to impress in their best 1950s threads and enjoy a night of music, dancing, and Halloween fun.

Grease
Book, Music, and Lyrics by Jim Jacobs & Warren Casey
Producer: Kadira Coley
Director: Frank D. Shutts II
Music Director: Mark Deal
Choreographer: Suzy Alden

The post ‘Grease’ revs up nostalgia and 1950s fun at Little Theatre of Alexandria appeared first on DC Theater Arts.

British playwright Ella Road’s Fair Play speaks to the moment we are living in by tackling rivalry, friendship, female empowerment, race, and gender, and it does so brilliantly. Audiences can see the work in a dynamic production now playing at 1st Stage in Tysons through November 9.

Directed by 1st Stage associate artistic director Deidra LaWan Starnes, the two-actor play focuses on two female athletes, both training and competing in the elite world of track and field in the United Kingdom. Mahkai Dominique plays Ann, who is new to the training center and who was recruited for her high potential as an athlete. Ann is also Black. She meets Sophie, played by Camille Pivetta, who is an established athlete who exudes confidence and is white. Over the course of the 90-minute drama, race and gender roles are examined as the pair of athletes grow and bond over their shared experiences. The playwright does not shy away from loaded topics but presents them within the fabric of the realistic dialogue between Ann and Sophie.

The text moves rapidly, covering a lot of ground, and the dialogue is sharp, naturalistic, and very British: talk of watching “telly,” dining on spaghetti Bolognese, and a liberal use of expressions like “innit” (a contraction of “is it not”), which should be familiar to fans of working-class characters on British TV.

One highlight of the production is how Starnes, the director, and the designers engineered the transitions and time jumps between scenes. Sarah Beth Hall‘s scenic design evokes a stadium, a locker room, and any location needed. An asymmetrical stretch of a running track serves as a backdrop. Projections of Ann and Sophie make for smooth and eye-catching scene transitions, passing like live reenactments of Nike commercials. The actors strike poses, move to the music, and, in a snap, advance hours or days without missing a beat. Lighting designer Alberto Segarra, projection designer Mark Costello, sound designer Thom J. Woodward, and scenic designer Hall each deserve gold medals for their collaboration with the director.

Starnes, as director, has also cast the production impeccably: each actress handles the British dialect like a local (dialect coaching by Jeri Marshall). Pivetta and Dominique both have the physique of top athletes as they stretch, drill, and prepare for their time on the track; Funmi Daramola serves as track and field consultant, allowing the actors to fully inhabit the skin of athletes, lending realism to the production. Costume designer Cidney Forkpah provides simple but effective athletic wear for the actors.

Like all well-made plays, the atmosphere of athleticism and the details of their training are merely the setting and engine of the play. For all the Britishness of the dialogue, there are universal truths and issues at play here. At the heart of Road’s text are these two young women attempting to make sense of their lives, their relationships, their choices, and each other. Dominique and Pivetta take their characters on a jam-packed journey, beginning as skeptical rivals and growing into friends, perhaps even soulmates. When each character faces a challenge, the other is there to play devil’s advocate or offer a shoulder to cry on. 

In the midst of their training, Ann and Sophie face issues such as doping, body autonomy, and even the hot-button topic of gender. Road’s script seems timely and real, with one of the characters facing an issue that could jeopardize her status on the team. Major topics are handled with care, leaving some questions unanswered and allowing the audience an opportunity to consider the issues after they leave the theater. It is a powerful story of two world-class athletes brought to life by two first-class actors and is well worth a visit.

Aside from the thought-provoking play, 1st Stage’s recent renovation is another reason to visit. With a new lobby area and larger rehearsal space, 1st Stage has much to offer for patrons and audiences.

Running Time: 90 minutes, no intermission.

EXTENDED: Fair Play plays through November 9, 2025, at 1st Stage, 1524 Spring Hill Road, Tysons, VA. Tickets ($15-$55) can be purchased online or by calling (703) 854-1856.

Content Warning: No content recommendations are provided, but parents should know that adult language and mature subject matter are discussed.

Fair Play
By Ella Road
Directed by Deidra LaWan Starnes
Featuring Mahkai Dominique (Ann) and Camille Pivetta (Sophie)
Understudies: Sia Li Wright (Ann) and Melissa Wilson (Sophie)

Assistant Director: Marvin Brown
Stage Manager: Sarah Usary
Lighting Design: Alberto Segarra
Projection Design: Mark Costello
Costume Design: Cidney Forkpah
Sound Design: Thom J. Woodward

Scenic Design: Sarah Beth Hall
Props Design: Justin Nepomuceno
Track and Field Consultant: Funmi Daramola
Technical Director: Jax Pendland
Dialect Coach: Jeri Marshall
Intimacy and Violence Coordinator: Lorraine Ressegger-Slone
Artistic Director: Alex Levy

SEE ALSO:
1st Stage to present ‘Fair Play’ by Ella Road (news story, October 7, 2025)

The post Dynamic ‘Fair Play’ at 1st Stage shines a bright light on elite female athletes  appeared first on DC Theater Arts.

Whether your car breaks down outside a spooky mansion or you just need a two-hour escape from the cares of modern horrors and headlines, Reston Community Players embraces the wild, weird, and wonderful world of mayhem, madness, sex, rock and roll, and so much more, bringing the cult favorite musical The Rocky Horror Show back for the spooky season.

There is a new, crispy fall feel to the air outside recently, but things are hotter than an electrically charged mad scientist’s laboratory inside the Leila Gordon Theatre at the Reston Community Center.

Even before curtain time, sexily clad ensemble members roam the house, teasing and taunting open-minded audience members to jump-start the experience. Is that a drag queen with a two-foot-tall hairdo? Check! Savvy fans of local drag performer Anja Dick (or his alter ego, Ryan Kincade) will be pleasantly surprised.

Not feeling like being messed with or touched? They have you covered: grab a set of red beads, and the “phantoms” and other cast members will pass you by.

For anyone game for some good-natured and naughty fun, you may just find your happy place at this show. Extroverts and party folk, this show is tailor-made for you. Fueled by the legend and lore of the 1975 film version, which became a midnight-showing cult phenomenon, this Rocky Horror stage show embraces many of the traditions from the picture show. The production highly encourages audience participation, especially the call-outs. (The theater sells goodie bags with a few approved props to use and throw, but no toast, frankfurters, rice, confetti, or water guns.)

On one Sunday matinee, the audience was filled with Rocky Horror super-fans and possibly even a few “plants”; there were new interjections that mentioned Lionel Ritchie and even Elon Musk! These call-outs, old and new, will likely change depending on the specific performance. But this is the kind of show that lends itself to a second or even a third visit, following the cult status.

Super-duper fans and those for whom Halloween is the “most wonderful time of the year,” RCP has you covered: At no extra charge during the Friday, October 31 performance, the brave and the bold can enjoy The Rocky Horror Halloween Extravaganza, complete with prizes and a costume contest, featuring Witti Repartee, drag queen extraordinaire. Register by 7:40 pm, judging begins at 8 pm, and the musical kicks off at 8:15 pm.

Atmosphere? Audience participation? All set. But what about the show itself? Whether you are a Rocky Horror Show virgin or weirdo from way back, this production has something for everyone, every creature, and everything in between.

Director Liz Colandene and choreographer Kendall Mostafavi have set up a perfect stormy night of a show, tipping their hats to memorable moments from the film and honoring the simplicity of the stage show while adding their own innovative elements. “The Time Warp” fills the stage with joy and energy with the signature moves intact.

Just in case this is all new to a reader of this review: The Rocky Horror Show is a horror, sci-fi spoof that also uses the tropes of 1950s and ’60s musicals to tell the tale of a hapless couple, Brad and Janet, who stumble onto an old castle with a crazy party going on presided over by the diva-tastic “sweet transvestite from Transexual Transylvania,’ Dr. Frank N. Furter, and his retinue of strange and unusual servants, guests, and victims. Richard O’Brien created the show in the tradition of Meredith Willson’s The Music Man, or Rupert Holmes’ Drood — actor O’Brien wrote the book, music, and lyrics, a mélange of pastiche numbers that move the plot by inches but provide ample opportunities for the cast to shine and take the spotlight.

As the “phantoms,” members of the ensemble, circulate and head to the stage, the lights dim, and Ryan Kincade, dolled up as his Anja Dick drag persona, serves as the usherette, Trixie, setting the tone of the wild and wacky night of nostalgia, ecstasy, and betrayal, “Science Fiction, Double Feature.” Clips from the ’50s era, black-and-white sci-fi and horror flicks, highlight the opening number.

When we’re introduced to Brad (“bastard”) and Janet (“sl*t”), Cristian Bustillos and Lottye Lockhart inhabit the roles of the dating couple who soon become victims of Frank N. Furter’s sexy and dangerous world. Their duet, “Dammit, Janet,” sets up their sexually repressed relationship. Later, when she is able to cut loose with Dr. Frank’s perfect physical creation Rocky (“Bullwinkle!”), Lockhart is able to belt out “Touch-a Touch-a Touch Me” with a powerful vocal instrument, all while being touch-a, touch-a, touched.

As Frank’s right-hand lackey and ultimately conniving servant, Riff Raff, Steve Cairns brings the seedy creepiness and rock tenor voice that raises the roof in his numbers, especially “The Time Warp.” As Magenta, henchwoman to the evil sidekick, Leah Chiaverini matches Cairns with malicious intention. They are joined by the tap-dancing pixie Columbia, played with cutesy weirdness by Hannah Conradt.

With all the henchmen and phantoms in place, as well as the innocent bystanders, how about the host and mad scientist with the unbridled libido and cruel streak, Dr. Frank? Making his entrance striding down the center aisle like the entire theater was his to own, Eric Morris commands the stage from his first withering look to his glorious death scene in the “final reel.” Nearly everyone knows how Tim Curry became a legend playing Frank in the 1975 motion picture. Not to take anything away from Curry, but Morris makes the role his — and her — own, owning the black corset, fishnets, and fabulously styled black wig. Switching from a purr to a snarl, from wounded bird to vicious villain, Dr. Frank fits Morris like a glove. His take on Frank’s signature song “Sweet Transvestite” is a highlight, and he makes it his own.

Morris shows a different side of Frank’s persona as he extols the virtues of his manly creation — think Frankenstein’s creature but made for Chippendale’s.

The apple of Frank’s eye, Rocky is brought to life — literally — by Jonathan Hardin, who is not only a physical specimen but a strong vocalist, shining during “The Sword of Damocles,” near the end of Act One.

The first act closes when Columbia’s former boyfriend, Eddie, emerges from a freezer, now a zombie determined to save his paramour, singing “Hot Patootie” like a rock and roll idol. Doubling down on the gender fluidity of the production, Paulina Stehr cuts a dashing figure as Eddie, playing it in the tradition of a drag king. Stehr makes the most of Eddie’s brief and ultimately tragic scene.

Later, Stehr rolls out, now as Brad and Janet’s paraplegic science tutor, Dr. Everett Scott, sporting a gigantic mustache. Rounding out the cast, Javier Buentello is dashing and campy as the narrator. Along with Ryan Kincade as Trixie, Syd Austin, Melissa Dyer, Jeffrey Mouritzen, and Haley Viar make up the phantoms — the guests and members of the ensemble. Each one embraces the sexy and free world of the musical.

The cast is aided in their libidinous and lasciviousness by the costumes, credited to Lourdes Turnblom, Jared Foeppel, and Allie Zito. Their designs are playful, sensual, and honor the traditions of the film and the show. Special mention to ensemble member Kincade, who also provided the wig and hair design of wild and wonderful looks.

Last but certainly not least, David Weinraub’s onstage band literally rocks the house from start to finish. Credited in the program as The Impalers (a mysterious rock band from Eastern Europe, with an entire hilarious backstory), the band handles each number with style. Weinraub (keyboards), David Smigielski (guitar), Christopher Willett (bass), Tito Perez (drums), and Dana Gardner (saxophones) make beautiful music together.

During this time of Spirit Halloween stores, pumpkin-spiced everything, and preparations for trick-or-treating, The Rocky Horror Show is another grand tradition of this time of year. RCP brings the strange and unusual characters to life with verve and wild abandon — a perfect match for O’Brien’s unique creation.

In a world where some factions keep trying to silence and push out the true diversity of humanity, a musical that embraces every type of gender identity, pushes sex positivity, and celebrates the message of “Don’t dream it, be it” is as right for the times now as it was in the early 1970s. Probably even more so.

Running Time: Two hours with one 15-minute intermission.

Richard O’Brien’s The Rocky Horror Show plays through November 1, 2025, presented by Reston Community Players, performing in the Leila Gordon Theatre at the Reston Community Center, 2310 Colts Neck Road, Reston, VA. Showtimes are Fridays and Saturdays at 8:00 PM, and Sundays at 2:00 PM. Reserved seating ticket prices are $26–$31. Purchase tickets online.

The program is online here.

Content Warning: Sexual themes, horror movie violence, and language. “The 1975 film based on this musical is rated R.”

Richard O’Brien’s The Rocky Horror Show
By Richard O’Brien
Directed by Liz Colandene

CAST
Trixie (Usherette): Ryan Kincaid
Brad: Cristian Bustillos
Janet: Lottye Lockhart
The Narrator: Javier Buentello
Riff Raff: Steve Cairns
Magenta: Leah Chiaverini
Columbia: Hannah Conradt
Dr. Frank N. Furter: Eric Morris
Rocky: Jonathan Hardin
Eddie/Dr. Scott: Paulina Stehr
Phantoms: Syd Austin, Melissa Dyer, Ryan Kincade, Jeffrey Mouritzen, Haley Viar

CREATIVE AND PRODUCTION
Producer: Jocelyn Steiner
Music Director: David Weinraub
Choreographer: Kendall Mostafavi
Production Stage Manager: Anthony Pohl
Lighting Design: Kim Crago and Jeff Auerbach
Costume Design: Lourdes Turnblom, Jared Foeppel, Allie Zito
Sound Design: Andie Matten
Set Design: Anna Mintz
Set Decoration and Properties Design: Natalie Foley
Technical Director: Dan Widerski

The post Campy, raunchy fun in ‘Rocky Horror Show’ at Reston Community Players appeared first on DC Theater Arts.

Charles Dickens’ A Christmas Carol famously begins with “Marley was dead: to begin with,” setting up the possibility of supernatural shenanigans from the jump. In The One Good Thing – or “Are Ya Patrick Swayze?,” the audience learns early on that one character is a ghost. While not the same as the Dickens ghost story, there are still lessons to be learned from the afterlife.

In this two-actor play by Joe Bravaco, now enjoying its U.S. premiere at Washington Stage Guild, Jamie is the ghost, and his brother, Tommy, is not convinced he has crossed over. What follows from this fantastical premise shows the two siblings work out their differences and find common ground.

Bravaco’s charming script comes to life with whimsy and heart, while never dipping into sentimentality, as the siblings chat, argue, cajole, goad, and confess all manner of truths over the 90-minute running time. Stage Guild associate artistic director Steven Carpenter uses a light but precise touch overseeing the staging and direction, allowing his two actors to inhabit the vivid characters and connect to each other in a very real manner.

Aiding the director in the success of The One Good Thing, Brandon Roak’s scenic design provides both the cozy cottage and seaside cliffs of Enniskeel, which are all skillfully lit by Marianne Meadows’ lighting design.

Over the course of the two-hander, the audience learns quite a bit about each brother and their situations. Ryan Michael Neely, as Jamie, brings a charm and a quick wit to the table, showing not only Jamie’s haunted nature, but his melancholic side, still holding guilt for their mother’s passing. As his sometimes-uptight sibling, Chris Stinson brings a definite contrast to his characterization of the incredulous Tommy. Neely and Stinson masterfully navigate the dialogue, emotional journeys, and revelations between the brothers. And since the play is set in a picturesque, gardener’s cottage on the cliffs of Ireland, the two actors immerse the audience in their thick and effortless brogues. Throughout the two acts, and the span of a few years, Jamie settles into the afterlife, including a ghostly romance, and Tommy’s earthly life with his wife and growing family percolates in the background, while the brothers continue to grow in their strong family bonds.

According to the playwright’s notes, the play is personal, examining how we cope with the loss of family members. Bravaco credits a specific piece of music “I’ll Be Singing,” as a starting point for his script. “The play came to me after listening to a beautiful song sung by Sinead O’Connor. The music by Amelia Warner has an ethereal feeling and the John Patrick Shanley lyrics seemed to me to reflect a calling to the afterlife.”

The outcome is truly that simple: a play about love, loss, this life and the afterlife, and the small moments that mean huge connections between family members. This production allows the play to work its magic, which is no small feat.

Running Time: Approximately 90 minutes, including one 10-minute intermission. 

The One Good Thing – or “Are Ya’ Patrick Swayze?” plays through October 19, 2025, presented by Washington Stage Guild, performing at The Undercroft Theatre at Mount Vernon Place United Methodist Church, 900 Massachusetts Avenue NW, Washington, DC. All tickets are general admission and $60. Students and groups of 10 or more pay $30 each, and seniors pay $50. To purchase tickets, click online.  Performances are Thursday at 7:30 PM; Friday at 8 PM; Saturday at 2:30 PM and 8 PM; and Sunday at 2:30 PM

Post-show discussion: October 18, following the Saturday matinee.

COVID Safety: Masks are recommended (not required). Washington Stage Guild’s complete Health and Safety Policy is here.

The One Good Thing – or “Are Ya’ Patrick Swayze?”
A U.S. premiere by Joe Bravaso

CAST
Jamie: Ryan Michael Neely
Tommy: Chris Stinson 

CREATIVE TEAM
Director: Steven Carpenter
Scenic Designer: Brandon Roak
Costume Designer: Lily Komarow
Lighting Designer: Marianne Meadows
Sound Designer: David Bryan Jackson
Stage Manager: Davis Elias
Assistant Stage Manager: Luca Maggs

SEE ALSO: Steven Carpenter on rehearsing the U.S. premiere of ‘The One Good Thing’ at Washington Stage Guild (interview by Ravelle Brickman, September 18, 2025)

The post Whimsy and heart enliven ‘The One Good Thing” at Washington Stage Guild appeared first on DC Theater Arts.

When a celebrity like Steve Martin co-writes a musical, it’s probably worth a look.

From his early days as the “wild and crazy guy” with a huge comedy following in the 1970s, into his starring roles in motion pictures, to his more recent fame as producer, creator, and costar of the Hulu streaming hit Only Murders in the Building, Martin has been part of the public consciousness for decades.

He is also an excellent musician, a banjo player of note, winning three Grammy Awards for his recordings, and he has toured extensively over the years. Martin and one of his collaborators and fellow musicians, Edie Brickell — remember The New Bohemians? — came together to create some beautiful music in the American Roots-style, encompassing bluegrass, country, and blues. Which led them to Bright Star, the musical they created that opened on Broadway in 2016.

Inspired by a vintage newspaper article about “the Iron Mountain baby,” Bright Star focuses on two mysteriously intertwining stories. Alice Murphy, a successful literary editor with humble roots in rural North Carolina, crosses paths with a WWII veteran and aspiring writer, Billy Cane, looking for his first stories to be published. The story flashes back from 1945 to 1923, when Alice was a free-spirited young woman longing to break free from her strict, Christian daddy and small-town life. She has her eye on local boy Jimmy Ray Dobbs, and they have a brief and star-crossed romance, yielding a love child. An unwed mother in the early 1920s was not widely accepted, emotional fireworks ensue, and the fate of Alice and Jimmy Ray’s infant son propels the story forward.

This original story, weaving forward and backward through time, is accompanied and supported by the Martin and Brickell songs, which evoke the era of old-time radio, Hank Snow, Bill Monroe, and the folk era. The tunes can be infectious (even when the lyrics are repetitive) and offer many chances for the Fauquier Community Theatre cast to shine.

From the opening musical selection, “If You Knew My Story,” Becca Harney as Alice provides a strong, clear voice that recalls the great ladies of both Broadway and country music. Her rendition of “Sun’s Gonna Shine,” one of the standout songs, is another Harney highlight.

As her love interest, Jimmy Ray, Noah Sariñana mingles his expressive voice with Harney’s on the romantic “What Could Be Better.” He pours out his character’s pained soul during the solo spot “Heartbreaker,” reacting to the ultimate tragedy Jimmy Ray has had to face.

As Billy Cane, the returning soldier and budding author, Garrett Tucker is charming as the wide-eyed and witty young man seeking literary fame. Tucker’s Billy handles the title song — quite the earworm — and gets to show his romantic side with his duet with Margo, his childhood sweetheart played gracefully by Camden Gillespie, “Always Will.”

The supporting characters do not get the most memorable songs to perform, but their commitment and enthusiasm are endearing. Val Kupperman (Billy’s dad), Stub Estey, and Pam Gordet (Alice’s parents) all make a strong impression. Nathan Dalpezzo is a versatile actor who plays two distinct figures: quirky Max, a hometown nerd, and Stanford Adams, a local official who works for Jimmy Ray’s father, the Mayor. W. Gregory Smith plays the slightly villainous role of Mayor Dobbs with relish.

Providing some winning comedic turns as Alice’s editorial staff members, Lucy and Daryl, Campbell Mason and Weston Weber turn on the Southern charm and plenty of snark in their memorable roles. Mason has fun as the forward, modern woman, and Weber, as the genteel but sassy “bachelor type,” has plenty of quips to impart.

The talented ensemble provides much-needed vocal support and appears as various townspeople, passengers, and even set movers. They handle their tasks efficiently.

Director Scott Olson, remembered for FCT’s recent The Play That Goes Wrong, among many other productions, creates a nostalgic atmosphere for the story to unfold. Olson’s lighting designer, Stacy King, provides some of her best work here, providing atmospheric color and mood suiting the changing times and settings. Carefully selected and not overused projections (including a bright star) complement the staging, as well.

Designed by Maggie Swan, Steve Cooper, and Jarrett Baker, the set — a rustic, open barn structure — makes for the perfect setting for the shifting time periods. Hopefully, by the last week of their run, the stage crew and cast could smooth out the scene transitions.

For Southern lore, some catchy music, and winning performances, you can’t go wrong with letting Bright Star shine its light on you.

Running Time: Two hours and 15 minutes with one 15-minute intermission.

Bright Star plays through September 28, 2025, presented by Fauquier Community Theatre, performing at the Vint Hill Theater on the Green, 4225 Aiken Dr, Warrenton, VA. All tickets ($18 youth, $20 seniors, $24 adults) are for reserved seating. Purchase tickets online or call the box office at (540) 349-8760. Tickets can sell out quickly, so plan ahead.

Programs are available at the performances and online.

Bright Star
Music, book, and story by Steve Martin
Music, lyrics, and story by Edie Brickell

The post Bluegrass and romance star in ‘Bright Star’ at Fauquier Community Theatre appeared first on DC Theater Arts.

The answer is “yes.” They really do take it all off.

Full disclosure: the big moment is handled with artistic flair and gives the audience — onstage and in the actual theater — what they came for.

Of course, this is all about the culmination of six men’s crazy desire to make money and save their families by stripping for their local crowd in Buffalo, New York. This is the pay-off scene and the finale in Terrence McNally and David Yazbeck’s musical The Full Monty.

This show, with all its raw, funny, and very adult moments, is now playing in an engaging production by the Arlington Players (TAP) at the Thomas Jefferson Community Theatre.

Based on a British film from 1997, McNally’s script and Yazbeck’s music and lyrics transport the story from an industrial town in England to an equally economically challenged Buffalo. The local factory has had massive layoffs, and the main characters have all fallen victim to the redundancies.

What follows is a story of a father clinging to his son amid a divorce, several marriages facing challenges, and the bottom line of how to make ends meet and financially play catch-up. The central character, Jerry, hatches a plan to get several of his co-workers together for a one-night-only, Chippendales-style evening of male stripping. But unlike the infamous male revue with chiseled bodies and poufy hair, Jerry and his odd array of real men would be warts and paunches, beer bellies, and all the dad bods anyone could wish for.

And hilarity ensues. Really. The journey of Jerry, Davie, Harold, Malcolm, Ethan, and Noah — nicknamed “Horse” — to their revealing opening night is not only amusing but ultimately heart-warming. These gents would do just about anything to save their marriages and lives and replenish their bank accounts.

Gamely playing the sextet (see what I did there?) with aplomb are Sam Nystrom (Jerry), Chris Anderson (Dave), Blakeman Brophy (Harold), Preston Meche (Malcolm), Apollo Yong (Ethan), and Tommie Adams (“Horse”). Nystrom brings earnestness and a touch of snark to Jerry, but he nails the devoted and desperate dad to a T. Anderson, as Dave, who takes care of more housework since losing his job, plays up the dichotomy of a big lug of a guy who has lost his confidence. Brophy’s Harold is the fussy worry-wort, and Meche emphasizes Malcolm’s goofy charm. Yong’s Ethan is a gangly mess who is also heralded for his — ahem — special feature that impresses the other would-be strippers. And as their final member (oh yes, I did that), Adams is the senior citizen Noah, with a bum hip but a funky vibe, who adds a bit of street cred to the group. (The truth about his nickname “Horse” is also eventually revealed.)

These gentlemen handle the musical duties well enough, with Nystrom’s fatherly “Breeze Off the River,” Anderson and Brophy’s “You Rule My World” — about Davie’s belly and Harold’s high-spending spouse — and the surprisingly romantic “You Walk with Me,” performed by Meche and Yong, among the highlights.

Matching and sometimes wiping the six strippers off the stage is the tour de force performance by Rachel Rabinovitz as the opinionated accompanist Jeannette. As played by Rabinovitz, with a stoop in her stature, salt in her quips, and acid from her tongue, Jeanette is quite a scene-stealer. Her musical number, “Jeannette’s Showbiz Number,” brought down the house and most likely does at every performance.

As the wives, Cara Giambrone (Pam, Jerry’s ex), Jolene Vettese (Dave’s wife, Georgie), and Christine Tankersley (Harold’s wife) provide grounding and serve as the voice of reason for their spouses, even if the guys stick to their butt-bearing mission. All the ladies take the stage with “It’s a Woman’s World” and “The Goods” and prove they are equal performers to the men.

As adult-oriented as this show is — some language and the bits of nudity — the youngest performer also makes a strong impression. Maks Lopez as Jerry and Pam’s son Nathan finds some sharp comedic timing in his scenes and provides Nystrom with a strong figure to work with as the depressed father.

Director Michael Kharfen’s adept touch and vision keep the production light and breezy. Iván Dávila and Anastasia Brunk, his collaborating choreographers, have provided dance moves that look organic and natural for the blue-collar world of Buffalo, as well as some hilarious exotic dancer-inspired moves for the guys as they prepare for their big night.

And providing strong musical support from the pit, music director and main keyboardist Francine Krasowska and her orchestra crackle the spiffy, jazz riffs of Yazbeck’s infectious score.

TAP is very clear on their website and in all advertising about the content of this show: “Advisory Warning: Due to language and nudity, THE FULL MONTY is recommended for mature audiences.” So plan accordingly. If you are old enough to appreciate some edgy humor and take in entertainment that shows some skin, give The Full Monty a look.

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

The Full Monty–The Broadway Musical plays through September 21, 2025, presented by The Arlington Players, performing at the Thomas Jefferson Community Theatre, at Jefferson Middle School, 125 South Old Glebe Road, Arlington, VA . Tickets ($30 for adults, $25 for seniors or military, $20 for students) may be purchased online in advance. (Again, this show is not recommended for children.)

The program is online here.

The Full Monty will be ASL-interpreted at the performance on Friday, September 19, at 7:30 pm. And nearby underground parking is available. Contact the theater for details, thearlingtonplayers.org.

The Full Monty–The Broadway Musical
Book by Terrence McNally
Music and lyrics by David Yazbek
Based on the motion picture released by Fox Searchlight Pictures and written by Simon Beaufoy, produced by Umberto Pasolini, and directed by Peter Cattaneo

CAST
Sam Nystrom: Jerry Lukowski
Chris Anderson: Dave Bukatinsky
Blakeman Brophy: Harold Nichols
Preston Meche: Malcolm McGregor
Tommie Adams: Noah “Horse” T. Simmons
Apollo Yong: Ethan Girard
Cara Giambrone: Pam Lukowski
Jolene Vettese: Georgie Bukatinsky
Christine Tankersley: Vicki Nichols
Rachel Rabinovitz: Jeanette Burmeister
Maks Lopez: Nathan Lukowski
Aram Matagi: Keno/Ensemble
Jamie Macklin: Estelle/Ensemble
Amarah Ennis, Genesis Brocket, Cheryl Bolt, Anthony Pallozzi, Adam Johnson: Ensemble

PRODUCTION TEAM
Producers: Steven Yates, Sabrina McAllister
Director: Michael Kharfen
Assistant Director: Mercedes Blankenship
Music Director: Francine Krasowska
Co-choreographers: Iván Dávila, Anastasia Brunk
Stage Manager: Katie Lewis
Assistant Stage Managers: Kiersten Mitzel, Terri Carnahan
Set Designers: Emma Bowers, Skip Gresko
Lighting Design: Ken and Patti Crowley
Sound Design: Connor Lugo-Harris
Costume Design: Joan Lawrence
Makeup and Hair Design: Jennifer Finn
Props Design and Set Dressing: Mercedes Blankenship
Master Carpenter: Tony Muller
Set/Scenic Painter: Kelly Haneklau
Sound Mixers: Kiersten Bowman, Adam Parker
Sound Crew: Colette Yeager
Costume Assistants: Rachel Waldstein, Lucie Alden
Fight Captain: Apollo Yong
Dance Captain: Preston Meche
Fight and Intimacy Choreographer: Brianna Goode
Spotlight Operator: Shiloh Manns
Rigging Chief: Christopher Smith
Light Board Operator: Maria Forte, Joni Hughes
Run Crew: Bruce Falk, Chris Kohlbeck, Hal McCombs, Cathy Oh, Emily Firlej, Jordan Coley

The post Arlington Players’ ‘The Full Monty’ leaves it all onstage appeared first on DC Theater Arts.

The plays of Neil Simon used to be ubiquitous among community theaters and local playhouses. Hardly a season went by without a healthy array of The Odd Couple, The Prisoner of Second Avenue, The Good Doctor, and Rumors — to name but of few of the prolific playwright’s popular plays from the 1960s through the 1980s. His later plays — beginning with the Brighton Beach trilogy — were not only semi-autobiographical; they were more seasoned plays with plenty of comedic one-liners, but with a great deal of pathos mixed in.

Which brings us to Simon’s Lost in Yonkers, a Tony-and-Pulitzer–winning piece premiering in 1991, which might be his most mature title. Grounded in the home front during World War II, Lost in Yonkers trades the mile-a-minute dialogue and punch lines for a more domesticated story, while still providing laughs. Perhaps it’s more of a dramedy?

Find out for yourself at the Little Theatre of Alexandria and its nostalgic take on Simon’s award winner of a play. The cast is more than up to the task, and the production is given a phenomenal set design and period costumes that place it right into the early 1940s​​.

Teresa Preston (Gert), Jacob Perlman (Jay), Benjamin Gorini (Arty), (standing) Brian Jimenez (Louie), Sarah Cusenza (Bella), and Sally Cusenza (Grandma) in ‘Lost in Yonkers.’ Photo by Matt Liptak.

When the lights come up, the audience meets Jay and Arty, ages 15 and 13, respectively. Their widowed father, Eddie, needs to have his sons stay with his mother and sister for a while, thanks to a huge loan debt from shady men and being able to find work only out of town. The youngsters have not visited their imposing grandmother much, but desperate times call for desperate measures. Part coming-of-age story and part family drama, Lost in Yonkers thrusts the boys into a powder keg of a home. Ruled over by their imperious Grandmother Kurnitz, who emigrated from Germany years ago, the household also features the kooky and emotionally childlike Aunt Bella, age 35. The problem is: due to some developmental challenges, Bella acts less mature than Arty, but she is trapped in a woman’s body, and this adds complications to everyone’s lives.

Playing the two teenage boys at the heart of the play, Jacob Perlman and Benjamin Gorini hold their own among the more seasoned actors in the company. Perlman brings out Jay’s more neurotic qualities, while Gorini displays the pluck and backbone of the wilier of the siblings. Each of these young actors also possesses natural comic timing, a must for even these youngsters in a Neil Simon vehicle.

On the opposite end of the spectrum, Sally Cusenza is the formidable, German-born grandma, wielding her cane like a battle axe and possessing such a strong stage presence that it was easy to see why her onstage children and grandchildren feared her above all else.

As scenes go, a highlight was at the top of Act II when young Arty and Grandma Kurnitz have a back and forth about her medicinal mustard soup.

In a brilliant stroke of casting by director Chantale Plante, Cusenza’s own daughter Sarah Cusenza plays Bella, the challenged and effusive aunt. The younger Cusenza physically, vocally, and emotionally brings forth a fully realized and complex performance of this complicated character. Her performance as Bella is partially guffaw-inducing and awe-inspiring, especially in the penultimate scene, where she hits her mother with some hard truths of what she has endured and her true feelings about life and survival. The mother-daughter performances were real and raw and believable in this pivotal scene.

In a key supporting role, Brian Jimenez is the ne’er-do-well criminal Uncle Louie, who comes on as a stylish and slick operator. Jimenez plays Louis to the hilt, showing his rough and ready nature while revealing a heart of gold. (September 18 to 27, Robert J. Ryley takes on the part of Louis for the remainder of the run.)

As the boys’ pop, Eddie, Joel Durgavich brings a world-weariness and sweetness to his portrayal. Teresa Preston rounds out the cast in the small but crucial role of Aunt Gert, the older aunt who suffers from a breathing condition brought on by the stress of growing up under Mrs. Kurnitz’s hard-scrabble parenting style.

The actors have a phenomenal scenic design in which to perform: the detailed and impressive setting of the well-furnished and decorated apartment above the family’s candy store looks good enough to rent out. Tom O’Reilly was the set designer and master carpenter, assisted by Charlie Boone and Connor Moalem. Lighting designed by Ari McSherry added a nostalgic glow and special moments when Eddie wrote letters home to the boys.

The costume and wardrobe department, led by designer Farrell Hartigan and wardrobe coordinators Alisa Beyninson and Maria Ciarrocchi, provided delightful period looks for the performers.

While Lost in Yonkers might not offer the laugh-a-minute style of Neil Simon’s earlier comedies, it does offer a well-made play with a lot of heart and just enough moments of dramatic tension to keep things interesting. It is also a showcase for a talented cast of actors to take audiences back to the time of ice cream sodas, ten-cent movies, and Bing Crosby on the radio, a pleasant escape that perhaps is welcome and needed right now.

Running Time: Approximately two hours and 15 minutes with one 15-minute intermission.

Lost in Yonkers plays through September 27, 2025 (Thursdays–Saturdays at 8 pm, Sundays at 2 pm), presented by Little Theatre of Alexandria, performing at 600 Wolfe Street, Alexandria, VA. To purchase tickets ($26, reserved seating), go online or contact the Box Office via phone (703-683-0496) or email (boxoffice@thelittletheatre.com).

The program for Lost in Yonkers is online here.

For more information about the show, cast, and crew, visit thelittletheatre.com/

Lost in Yonkers
Written by Neil Simon
Directed by Chantale Plante
Produced by Eleanore Tapscott

The post Neil Simon’s ‘Lost in Yonkers’ takes audiences back to 1942 at Little Theatre of Alexandria appeared first on DC Theater Arts.

There’s no way to stop the talent and beauty of Riverside Center’s The Sound of Music, Richard Rodgers and Oscar Hammerstein’s final collaboration and a perennial favorite for audiences of all ages.

One would likely be a recent extraterrestrial visitor to Earth not to be aware of this musical about Maria Rainer, a postulate nun turned governess, and her momentous encounter with the widowed Captain von Trapp and his large family, all facing the onslaught of the Nazi takeover of their beloved Austria.

This venerable and wildly popular family musical is rarely away from the stage for long and was certainly made into a megahit by the 1965 film. As a matter of fact, the Stafford, Virginia–based, professional dinner theater located just south of DC down I-95 is acknowledging the motion picture version’s 60th anniversary with this winning reprise of the show.

Take this next statement to the bank: Riverside Center’s production is the best I have seen of this musical since I have been attending theater, which is 40-plus years. From local community theater to professional tours and some very well-done high school productions, this Sound of Music is gorgeous to behold.

Beginning with the refreshing direction by producing artistic director Patrick A’Hearn, The Sound of Music looks newly minted, with a painterly design that stays intimate even with a stage that evokes an operatic scale. His scenic design collaborator, Christian Fleming, gives plenty of room for the action while providing simple stage pictures that enhance the flow of the show. The lighting design, by Weston Corey, evokes impressionistic paintings and perfectly complements the scenic design.

A’Hearn has steadily brought increased aesthetic value to the dinner theater and conference center’s productions, and this time he has outdone himself.

Along with the eye-catching design work, the performances are top notch — from the eight nuns who fill the theater with angelic harmonies to the seven charming von Trapp children, the ensemble, and, last but not least, the principal performers, there is not a weak link.

A’Hearn’s direction also highlights the humanity and pathos from the characters while keeping them grounded and free from the saccharine qualities that can plague this title and rankle the more cynical theatergoer.

Sarah Mae Andersen is a delightfully engaging Maria, from her simple and lyrical rendition of the title song to her playful musical moments with the von Trapp children, and the growing romance with the stalwart Captain.

Likewise real and straightforward is Tim Rogan as Georg von Trapp, the captain. As stiff and officious as he is at first, his melting heart when his children bring music back to their mansion (thanks to Maria) is a testament to his ease onstage and his palpable chemistry with Andersen.

And the children! One audience member was heard to say, “Those are the best group of kids I’ve seen onstage in years.” This reviewer concurred. Ella Schnoor (Liesl, the oldest), Aiden Maldonado (Friedrich, oldest boy, 14), Isla Phillips (Louisa, 13), Grayson Lewis (Kurt, 11), Vera Barfield (Brigitta, 10), Catherine Mayers (Marta, 7), and Ellie Waddell (Greta, 5) are each distinct, composed, and win the day with their stage presence and even solid comedic timing. No matter what choreographer Stephanie Wood threw at these game performers — as in the musical numbers “Do-Re-Mi” and “The Lonely Goatherd” with their ringleader Maria — they made it look easy as strudel.

Schnoor also shines as the innocent but eagerly love-struck Liesl when she shares her duet with the delivery boy Rolf during one of the standout songs, “Sixteen Going on Seventeen,” where the duo handles additional choreography by Wood with grace.

Possessing a magnificent voice and peaceful demeanor, the Mother Abbess of Kelly Glyptis provides matronly energy and a vocal power that is impressive. Her version of “Climb Ev’ry Mountain” is worth the ticket price alone.

And those other nuns? Sisters Berthe (Andrea Kahane), Margaretta (Rebecca Drury), and Sophia (Abigail Weinel) join Glyptis in the delightful “Maria.” Stephanie Wood, Emma Potts, Elizabeth C. Butler, and Aileen Mitchener round out the nuns’ ensemble; together they sound like a cathedral choir, thanks in part to the superb sound design and balancing by Cheyenne Tenda.

Other cast members include the sophisticated Baroness Elsa Schraeder, played by Kiley Ernest, and the endearingly pompous Max, played by Jordan B. Stocksdale. Elsa, a would-be suitor for Georg, and Max, a gadabout and artistic hustler, provide a bit of comic relief.

All the actors are well supported by Carson Eubanks and the small but mighty pit orchestra that brings the sumptuous Rodgers score — with new orchestrations by David Landrum and Zephaniah Washington — to life with precision and style.

I haven’t mentioned the dinner option, which is also (to quote a different musical) “wunderbar.” Several appetizers are available, along with four entree selections, dessert choices, and a full bar and spirits menu. The bratwurst entree and the chicken-based schnitzel were devoured at my table, as was the Black Forest Cake dessert. A non-meal ticket option is available, but why not get the full experience?

Let’s recap: this is a rave review. Yes, about The Sound of Music. Take the whole family, relive the beauty, the romance, and the glorious music.

Running Time: Two hours and 45 minutes with a 20-minute intermission.

The Sound of Music plays through October 26, 2025, at Riverside Center for the Performing Arts, 95 Riverside Parkway, Fredericksburg, VA. Tickets ($65–$82) are available online or through the box office 540-370-4300, open from 10 am to 6 pm, Mon.-Wed.; 10 am to 7:30 pm, Thu.-Fri; 12 pm to 7:30 pm, Sat.; 12 pm to 3 pm, Sun. Discounted senior & group rates are available (for details, click here.)

Evening performances start at 7:30pm with dinner service beginning at 5:30pm on Thursday, Friday, and Saturday. Matinee performances start at 1:30pm with meal service beginning at 11:30am on Wednesday and 3:00pm on Sunday with dinner service beginning at 1:00pm.

Adult Dinner & Show – $82 (plus applicable taxes)
Seniors (65+) Dinner & Show – $77 (plus applicable taxes)
Children (3-17) Dinner & Show – $70 (plus applicable taxes)
Adult Show Only – $65
Seniors (65+) Show Only – $60
Children (3-17) Show Only – $55
There will be a $5.00 online processing fee added per ticket.

Cast, creative, and crew credits are in the online program here. The menu is here.

The Sound of Music
Music by Richard Rodgers
Lyrics by Oscar Hammerstein II
Book by Howard Lindsay and Russel Crouse
New Orchestration by David Landrum and Zephaniah Washington
Suggested by The Trapp Family Singers by Maria Augusta Trapp

The post A gorgeous new ‘Sound of Music’ at Riverside Center for the Performing Arts appeared first on DC Theater Arts.

Ambitious and passionate are two words that spring to mind when considering Disney’s lesser-known stage adaptation of a modern animated classic. The show in question is The Hunchback of Notre Dame, on stage at Katherine Johnson Middle School through July 26.

Since 2009, the City of Fairfax Theatre Company has been producing compelling shows featuring intergenerational casting, with actors young and old. Hunchback follows this pattern, and the results are engaging. As directed by Zachary Flick, this more serious Disney property fills the stage with a diverse cast, stirring spectacle, and the score and lyrics by Alan Menken and Stephen Schwartz, thrillingly sung by the cast.

Beginning with the hymn-like “Olim,” segueing into the leitmotif “The Bells of Notre Dame,” an ensemble of storytellers begins to weave the musical retelling of Victor Hugo’s “Notre-Dame de Paris” filled with medieval intrigue and romance, circa 1482. This was a time when the Roman Catholic Church held sway over the entire society, except for the Romani people, nomadic wanderers thought to be thieves and cutthroats and outside of the church’s holy writ. (The musical characters still use the outdated term gypsies for the Romani people and Esmeralda.) The Romani street performers and urchins elicit the most concern from the ultra-pious and self-righteous Archdeacon Frollo.

The heart of the story is the title character, stuck with the cruel named Quasimodo (which roughly translates as “half made”). Named by his guardian Frollo, Quasimodo was the love child of Frollo’s brother Jehan and a Romani lass. As he was born with a crooked spine and other deformities, Frollo took pity and derided the child and kept him hidden in Notre Dame, treating him as a lackey. The hunchback has the soul of a poet despite his misfortune and longs to explore the city he knows only from the parapets of the cathedral.

Literary fans or fans of the Disney animated feature will know that a force of nature blows into Frollo and Quasimodo’s lives: the fiery and sensuous Esmeralda, who dances for money in the seedy streets outside of Notre Dame. Frollo is repulsed but not so secretly lusts for the dark-eyed beauty. Meanwhile, Quasimodo is touched by her kindness when Esmeralda shows him compassion when the Parisian mob gangs up on him after crowning him the King of Fools, making fun of his misshapen appearance.

The triangle becomes a square when Captain Phoebus of the French guard comes to join the protectorate of the cathedral. Phoebus is likewise bewitched by Esmeralda’s beauty and the race is on as to who will end up with her. The story is a heavy one, made only slightly lighter by Peter Parnell’s adaptation of Hugo’s sweeping novel. Luckily, Menken and Schwartz’s score and lyrics compress the action and story, which is filled with dense choral sections, heartfelt ballads, and rousing ensemble numbers that carry the story forward, even when the scripted scenes slow the action down. And fair warning: this one is a tragedy, ending with just a touch of romance after a Shakespearean body count.

What is not in question onstage is the talent of the skillful cast of performers director Flick has assembled. Mylo Cluff, as Quasimodo, immediately endears himself with an angelic voice and innocence as the unfortunate hunchback. His scenes with his gargoyle friends are as endearing as his scenes with Frollo are fraught with tension. The actor effortlessly conveys the tortured soul and childlike wonder of Quasimodo. Cluff particularly shines when he warbles “Heaven’s Light” and “Flight into Egypt.”

As his foil and monumental antagonist Frollo, Andreas Moffett is as slick and stolid as Cluff is pliable and personable. Embodying the tightly wound and high-minded cleric, Moffett brings gravitas and precision to his role as the heavy. With glints of humanity, the actor lets the piety and lust for the attractive gypsy girl battle it out within his demeanor and facial expressions. Moffett’s songs, while not as compelling as Cluff’s, are well sung with clarity and superb diction.

Providing the passion and focal point of the men’s affections, Esmeralda is unlike most Disney heroines. Dancing seductively in the city square, protecting herself with a quickly produced dagger, and stirring up the street urchins, Esmeralda is like the antithesis of Snow White or other leading ladies from the “House of Mouse.” But the character fits perfectly as being central to the tragic romance, and in this production Olivia Clavel-Davis embodies Esmeralda’s complexities and appealing qualities perfectly. In “Rhythm of the Tambourine,” Clavel-Davis commands the stage with her delivery of the song and the evocative choreography by Melody Vidmar and Nathan Nichipor. The leading lady also delivers a beautiful rendition of one of the show’s signature songs, “God Help the Outcasts.”

As her dashing suitor and the rival of Quasimodo and Frollo, Nicolas John-Burgos brings panache to the strait-laced officer. John-Burgos makes the rakish captain appealing and brings appealing vocals to songs such as “Rest and Recreation” and the duet with Esmeralda, “In a Place of Miracles.”

Leading the storytellers and taking on the role of Clopin, the Romani ringleader, Jasmine Jones brings style and stage presence to spare throughout her scenes and musical numbers, such as “Topsy Turvy” and “The Court of Miracles.” The large cast takes on the rest of the storytellers, gargoyles, and Parisian citizens and brings fervor and heartfelt performances to life.

Karly Sargent’s lovely period costumes evoke the medieval times, with stately soldiers, colorful street people, and vivid colors for the main characters, dividing them into types — red for Frollo, green for Quasimodo, for example. The impressive multilayered set, an impressionistic rendering of the famous cathedral, was designed by Noah Beye and built under the supervision of Peter Marsh. Lighting by Ken and Pattie Crowley brings out the light and dark elements in the story and accentuates the story appropriately.

What would a sweeping musical epic be without an orchestra? Luckily Hunchback has a finely tuned and sumptuous ensemble of skilled players under the direction of Matthew R. Brown. The orchestra more than does Menken’s score justice.

The Hunchback of Notre Dame may not be a typical sunny and frothy Disney feel-good show. However, like choices on a menu, sometimes we want comfort food, and other times we want to sample a heartier dish to excite the palette. Why not try a bit of French cuisine and sample the “Bells of Notre Dame”?

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

The Hunchback of Notre Dame plays through July 26, 2025, presented by City of Fairfax Theatre Company, performing at Katherine Johnson Middle School, 3801 Jermantown Road, Fairfax, VA. Patrons may purchase tickets online in advance.

Sensory Friendly Show, Wednesday, July 23: 7:00 PM: This performance is designed to create a welcoming and comfortable experience for individuals with autism, sensory sensitivities, or other disabilities by modifying elements like sound and lighting. There is a smaller capacity for this show and the priority for that availability is families who will benefit from the sensory friendly modifications. Note that this performance retains the same content warning as general performances.

Warning: The show contains physical/verbal abuse, sexual harassment, death/suicide, attempted murder/murder, sword fighting, and suggestive dancing. Although the show is inspired by the novel by Victor Hugo and the Disney animated film of the same name, it consists of several scenes, actions, and words that may not be considered appropriate for young audiences.

The cast and production credits for The Hunchback of Notre Dame are online here.

The post Passion and romance in ‘Hunchback of Notre Dame’ from City of Fairfax Theatre Company appeared first on DC Theater Arts.

“A tale as old as grime” is a clever and apt subtitle for the twisted fairy tale that is Shrek the Musical, a crowd-pleaser for theatergoers of any age.

McLean Community Players (MCP) has brought this hilarious and tuneful show to life with energy, heart, and talent that leaps off the stage. If the audience’s reactions were any indication — nearly wall-to-wall cheers and laughter — Shrek the Musical should be a summertime hit for MCP, and deservedly so. And this is not an ogre-exaggeration.

Just in case you need a refresher, Shrek the Musical is based on William Steig’s delightful children’s book that was adapted into an animated film franchise by DreamWorks Animation, beginning in 2001. The stage adaptation, by David Lindsay-Abaire and Jeanine Tesori, expands on the first Shrek film’s plot.  It premiered in 2008 and has become popular on stages across the globe.

The story centers on the ogre, Shrek, who lives out his life on a patch of swampland outside the limits of Duloc, an atypical fairy tale village. Instead of a noble lord, Duloc is ruled over by the diminutive and egomaniacal Lord Farquaad. When Farquaad banishes all the more unique citizens of Duloc — think Pinocchio, the Good Fairy, the Three Bears — to the swamp, Shrek takes to the village to confront the short king-lord and ends up being tricked into going on a quest to find a princess trapped in a lonely tower. Along his journey, Shrek finds a sassy, talking donkey and has to get past an amorous dragon before rescuing Fiona from the tower. Shrek’s big green heart starts to melt as he falls for the strong-willed and perky princess, while being third-wheeled by Donkey. After many adventures, Shrek delivers Fiona to Farquaad for the forced marriage, and it’s up to the ogre to save the day and Fiona from a doomed marriage. A happy ending for everyone, except Farquaad, wraps up with the ’60s pop hit “I’m a Believer” as a rousing grand finale.

MCP’s production takes a fun musical and elevates this hilarious and touching show onto a whole other level. Spearheaded by director Jared Glou, the energy level of the entire cast never wavered during the two and a half hour run time. Perhaps you think this is an obvious statement, but the pacing, the transitions, and every scene crackled with electricity and verve, propelling the show throughout the evening.

Glou and his collaborators Ariel Kraje, choreographer, and Rachel Bradley, music director, put together what can easily be called a stacked cast of stellar performers from the leading players to even the smallest ensemble member.

Noah Beye, in the title role, had charm, comedic timing, a soaring voice, and stage presence to spare. The actor’s portrayal of Shrek paid homage to vocal actor Mike Myers (the 2001 animated star) and Bryan d’Arcy James (the original Broadway star), incorporating a strong Scottish accent, but brought his own distinctive stamp to the character. Beye nailed the comic shenanigans, for sure, but he was also able to convey the ogre’s loneliness and desire for happiness. Shrek’s sensitivity was especially highlighted in the solo numbers “When Words Fail” and “Build a Wall.”

Special mention must go out to makeup designer Natalie Turkevich for Shrek’s head-to-toe greenification. Wicked’s Elphaba is not the only green icon, and the masterful design and execution of Beye’s ogre is a sight to behold.

As his secretive and lively love interest, Princess Fiona, Alexandra Lagos, was well-matched to Beye’s Shrek bit-by-bit and note-for-note. Lagos found Fiona’s spunky spirit and whirlwind quirkiness from start to finish. Add her dancing skills — highlighted in the toe-tapping “Morning Person” — and crystal-clear belting voice, and she commanded the stage. All things being equal, Beye and Lagos brought the house down with their deliriously funny duet “I Think I Got You Beat,” complete with their burping and farting contest!

Supporting the ogre and the princess with skillful comedic timing and equally vivid personalities were Cam Powell and Garrett Walsh as Donkey and Farquaad, respectively. Covered from head to toe in brown fur, Powell brought brays of laughter from the audience as the goofily endearing donkey. When Donkey notices the budding romance between Shrek and Fiona, Powell’s Motown-inspired “Make a Move,” backed up by the Three Blind Mice (Shannon Hardy, Isabella Lerch, and Max Newman), was a highlight. As the antagonistic nobleman, Walsh chewed scenery like bubble gum, which was a perfect fit for the fussy and farcical Farquaad. As is traditional with the role, Walsh sang, danced, and yukked it up all while performing 98 percent of the time on his knees (with clever costuming) to portray the dwarfish cad. God bless his knees! Farquaad is in the grand tradition of comedic villains providing obstacles for the main characters with room to charm the audience with evil glee, and Walsh was born to play the role.

Duloc was also populated with a variety of wild and crazy creatures and figures from all sorts of stories; MCP’s ensemble provided memorable performances of fairy tale characters, each one having little moments to shine with a line or a bit of business. Kevin Donlan was a squeaky-voiced Pinocchio, complete with identity crisis. Shelby Young pulled double duty as the fabulous Good Fairy and the voice (and puppeteer) for the Gingerbread Man, a.k.a. “Gingy.” All the other fairy tale figures join Pinocchio and Gingy for the rousing anthem of acceptance, “Freak Flag,” a certified showstopper.

Featured in the introductory song for Fiona, “I Know It’s Today,” Cece Gorini and Ellie Whitfield, as the child and teen princess, joined Lagos as the grown-up Fiona for a stunning trio. (These roles alternate with Samantha Regan and Madlyn Regan throughout the run.) And, even with one musical number at her disposal, Ariel Friendly blew the roof off the Alden Theatre when she proved that the Dragon was also a dynamic diva, singing “Forever.” This number also served as the hook to getting Donkey’s heart, the most unlikely couple in Duloc.

The entire cast was aided by Kraje’s engaging choreography and Bradley’s crisp musical direction, leading the ten-piece pit orchestra with precision. Ginger Ager’s kaleidoscopic and whimsical costumes helped bring the make-believe world to life. Working with designers Olivia Hinebaugh, sets, and Sam Jensen, lighting, Shrek’s director Glau was able to place the characters into the far-away land and maintain quick and smooth transitions.

MCP deserves this production to be a sell-out, so do not hesitate to order your tickets and take anyone from 8 to 80 to the show. Be warned: there is some potty humor (remember the fart contest?), which might need some smoothing over for the more uptight audience member. But the message of acceptance is not only timeless but timely. As Shrek says to Fiona in the last moments, “Beautiful ain’t always pretty.” As updated fairy tales go, you can’t go wrong with the story of the big, green ogre who saved the day and got the girl.

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

Shrek the Musical plays through July 27, 2025, presented by McLean Community Players performing in the Alden Theatre at the McLean Community Theatre, 1234 Ingleside Ave., McLean, VA. Tickets ($25/$20 students and seniors, $18 MCC district residents) can be purchased online.

Warnings: Slapstick humor and violence, mild scary moments, and juvenile potty humor.

Shrek the Musical
Book and Lyrics by David Lindsay-Abaire
Music by Jeanine Tesori (“I’m A Believer” by Neil Diamond)

The cast and creative credits for Shrek the Musical are online here.

The post McLean Community Players’ ‘Shrek’ brims ‘ogre’ with charm and talent appeared first on DC Theater Arts.

The roll call of musicals rooted in history is distinguished, to say the least: 1776; Pippin; Titanic; Bloody, Bloody Andrew Jackson; Hamilton; Come From Away; and even the current Broadway hit (originally from London), Operation Mincemeat. Operation Mincemeat focuses on a mission by the British to fool the German Axis powers during World War II.

But it is the personal toll on friends and family — and the entire country — during the “War to End All Wars,” World War I, that is the subject of the world premiere musical Into the Sun, which played for three performances in Warrenton. While the brief run at Journey Theater, produced by Triune Entertainment, may be a memory, keep your eyes and ears out for this innovative, touching, and ultimately inspirational musical to find its way to other stages in the future.

Triune Entertainment, as described in its press materials, “is an independent, non-Equity production company dedicated to providing artists with opportunities to direct and perform in exciting and original ways.” Co-owned by Matt Moore, Lisa Moore, and Cate Murray, Triune, within the last year or so, has made a name for itself producing shows that are “uplifting without compromise.” They opened last year with Peter Filichia’s comedy Larry the Big Time Producer. Other shows have included Songs for a New World, The Best Christmas Pageant Ever, and Joseph and the Amazing Technicolor Dreamcoat. To close out its second season, history took center stage, courtesy of noted author, musician, and historian Michael Gubser.

Inspired by the World War I poetry of Wilfred Owen, Rupert Brooke, and Siegfried Sassoon, Gubser has fashioned a very personal story of family and friends set against the backdrop of England thrust into a horrific war and the sacrifices and scars of battle. Gubser created the book and lyrics, along with the musical score, with early contributions by Paolo Prandoni — Gubser’s bandmate in Chico Motel. The musical has had readings and workshops several times over the years, but Triune’s producer Matt Moore took what some might say is a bold step in producing this untried, serious work.

The style of the score and songs is unique, bridging folk, rock, and Broadway sounds, ranging from poignant ballads and gut-wrenching confessionals to romantic duets and full-out anthems, including “I’ll Follow You,” which becomes a recurring theme throughout the piece. This is a tune that sticks with the listener, both in music and lyrics.

To hear excerpts from Gubser’s score, including “I’ll Follow You,” visit his website mikegubser.com/into-the-sun.

The audacious move has paid off. Into the Sun is bold, indeed. In telling a story of bravery, Gubser’s musical brings the human face of soldiers and their loved ones to life in script and song. And as directed by first-time director Esther Wells, Into the Sun moves from merry, old England the night before the war to the trenches of France and back again with ease and theatricality. Using minimal props, simple settings, and evocative projected scenes, the production flows cinematically through the turbulent years of WWI, 1914 to 1918. The detailed period costumes — designed by Heather Allen and a host of others — place the actors firmly in the turn-of-the-century era, including crisp uniforms for the ensemble of soldiers.

The story focuses on a British brother and sister, Alfred and Mary Sigfried. Known to all as “Freddy,” he is pumped with national pride just before he enters the King’s army. Mary, bold and independent, declares she wants to join Freddy and his mates on the front lines. Her beau and Freddy’s friend Rupert protests, insisting that Mary stay safe in England. Rounding out this small group of family and friends is the sensitive poet Henry Wilfred. As Freddy’s best mate, and reluctant participant in the war, Rupe accepts Freddy’s promise to always watch over him.

The story then propels into the trenches as Freddy rises to captain and begins to have more conflicts with his old friends. Meanwhile, back in the UK, Mary helps the war effort by working in a munitions factory, remaining connected to the fighting men via letters. The story unfolds, leaping to England and back again to the front, where the horrors of war are depicted, sometimes with tragic consequences.

The cast of Into the Sun handles the challenging and engaging story and score skillfully, Leading the company is Ryan Schaffer as Freddy, the central character. Schaffer exudes devotion to his family and friends, as well as his loyalty to Britain, throughout Freddy’s journey; his depiction of the emotional price of loss and tragedy during wartime is convincing. Schaffer’s strong and expressive baritone handles his musical duties beautifully, starting with the catchy and charming “Soldiers” (“When I Become Prime Minister”), and the finale reprise of “I’ll Follow You.”

As sister Mary, Audrey Mollo is a strong presence as well, inhabiting a woman with backbone in a time when women in society were expected to look lovely. Mollo’s love for Rupert and her kinship with her brother are at the heart of the musical. Mary’s fiery personality shines through, particularly in “Why Can’t I Go, Too.”

Joseph Allen makes a strong impression as the romantic and tortured Rupert, who becomes torn between Mary, back home, and a growing relationship with a French lass, Marie. As much in love with Mary as he can be, he becomes involved in a battlefield relationship with a gentle soul who happens to be a lady of the night. Allen has to have chemistry with both Mollo, as Mary, and Camden Gillespie, as Marie, which he handles with touching poignancy. His scenes with Gillespie as Marie are touching and filled with lyrical beauty. Their scenes include two duets, “Someone” and “Marie’s Theme” (“Just Another Minute with You”), which brings their doomed romance to the forefront, especially as performed by Allen and Gillespie.

Probably the most tragic figure among the characters, Henry, is portrayed with sensitivity and depth by Cam Ezell. Henry, with a poet’s soul, does not take to war during his first tour, and Freddy keeps his promise to keep Henry safe, but only for a time. Ezell brings to life the conflicted and fragile Henry, offering a gut-wrenching performance, especially when he bears his soul, even briefly, to his friend Freddy.

The cast is rounded out by memorable turns from Matteo Hope as Billy, an Irish lad (reminding the audience that many soldiers were practically boys), and Eric Black as the stern and imperious General for whom war is everything. Ensemble member Paul Correll steps up to portray a German soldier, Willy, who makes contact with the British company from across the battlefield in a scene reenacting the famous Christmas ceasefire of 1914, a moment of true humanity in the midst of war.

Last but not least among the performers, four actors are never onstage but appear in filmed transitions between scenes, portraying the young versions of the main characters, an innovative touch that offers additional context to the longtime relationships among the quartet. Theo Gubser (Freddy), Nick Moore (Rupe), Mira Gubser (Mary), and James Moore (Henry) make a strong impression as the younger protagonists.

Weaving history with the personal stories, Gubser’s musical takes Freddy from a proud soldier and devoted friend to practically a broken man who makes a bold move to show the horrors and futility of war. The ultimate price paid by the lives of those in the war is incalculable, and this musical creatively captures the depths of tragedy while ending with a glimmer of hope, as the characters face “into the sun.”

There is a quote by playwright and actress Dominique Morisseau: “Everyone deserves to have their story fully told.” After seeing the world premiere of Into the Sun, Freddy, Mary, and the others in this musical deserve to have their story fully told again and again.

Into the Sun played June 6-7, 2025, presented by Triune Entertainment, performing at Journey Theater, 4175 Bludau Dr, Warrenton, VA.

Into the Sun
Book, music, and lyrics by Michael Gubser

CAST
Alfred “Freddy” Sigfried: Ryan Schaffer
Mary Sigfried: Audrey Mollo
Henry Wilfred: Cam Ezell
Rupert “Rupe” Pryor: Joseph Allen
General: Eric Black
Billy: Matteo Hope
Katy: Brighid Hughes
Willy, ensemble: Paul Correll
Marie, ensemble: Camden Gillespie
Police Chief, ensemble: Stub Estey
Other Ensemble members: Anthony Palladino, Linda Correll, Tammy West, Samantha Wong.
Appearing on film: Mike Gubser, Nick Moore, Mira Gubser, and James Moore.

PRODUCTION TEAM
Producer: Matt Moore
Director: Esther Wells
Stage Manager: Garrett Tucker
Choreographer: Christie Dubnansky
Music Director/Piano 1: Lori Roddy
Assistant Music Director: Robert DeBroeck
Set Designer: Esther Wells
Technical Director: Ben Jacobeen
Lighting Designer: Jack Tessier
Sound Designer: Kaitlyn Nelson
Sound Engineer: Lex Hartung
Lighting Operator: Sarah Vaughan
Costume Design: Heather Allen, Eric Black, Robin Dalusung, Christie Dubnansky, Lynn Morrison, Esther Wells
Props Manager: Jay Wells
Projection Design: Matt Moore
Set Construction: Caroline Arnette, Doug Barylski, Christie Dubnansky, Esther Wells
Stage Crew: W. Greg Smith, Amber Weaver, Kiera Pechiny, John Moore
Orchestra/Bass: Davd Burrelli
Orchestra/Drums/Guitar: Chris Calavas

The post Triune Entertainment’s new WWI musical ‘Into the Sun’ burns brightly appeared first on DC Theater Arts.

The film adaptations of C.S. Lewis’ allegorical fantasy The Chronicles of Narnia delighted my children and me in the early-mid-2000s when the big-budget movies were released. In the age of CGI effects and immersive sound design, these films held the attention of my teen boys and their old dad. So I was intrigued by the idea of attending a stage adaptation of Lewis’ second Chronicle, Prince Caspian. Knowing this production was by the Logos Theatre, a South Carolina-based organization that trains and employs actors and crews to present Christ-centered productions, was also intriguing to me.

All of this is preface to my assessment of Prince Caspian, now running at the World Stage Theater on the fifth floor of the Museum of the Bible in Southwest DC.

Folks, I was impressed.

From the staging, the performances, the stagecraft, and the message, Prince Caspian rules. There is not a dull moment in the production, which whisks along (particularly in the first act) culminating in a stage battle of creatures and humans that crackles with danger.

As the second of The Chronicles of Narnia, Prince Caspian picks up with the Pevensie siblings, who had stumbled upon the hidden kingdom of Narnia in the first tale, The Lion, the Witch and the Wardrobe. There they encountered enchanted talking animals, such as the majestic lion, Aslan, who served as a Messianic figure. Benevolent and mighty, Aslan helps the adventurous teens, and they even become kings and queens of Narnia and rule for many years. When they return to London, they are once again their own ages and have only their memories of their time in the hidden kingdom.

As Prince Caspian opens, the Pevensie siblings are about to take the train to boarding school. Just as they embark, the station spins and they find themselves transported once again, this time to a desolate island in an unknown land. Meanwhile, young Prince Caspian is in danger from his uncle and the queen, who wish to continue to rule, rejecting the goodness of Aslan, who has been absent for many years.

As the story unfolds, the intrigue of Narnian politics, the machinations of the evil king, and the Pevensie siblings’ quest all converge clearly, so audiences do not have to be experts in the Chronicles to keep up. The adaptation by director Nicole Chavers Stratton is lively and engaging, offering the actors crisp and witty dialogue that also effortlessly propels the adventure forward.

Stratton’s script is masterfully supported by the stagecraft of the lighting, set, and costume designs. The dynamic lighting scheme by Samuel Singleton, Nicole Stratton, and Nicole Murphy brings a cinematic style to move the action forward. Scenic elements, designed by Jesse Gould, work with Stratton’s creative staging to keep the action moving. From the siblings to the talking creatures and even walking trees, the costumes solidify the theatrical magic of the production; these were designed by a large team of technicians led by Lucy Parker. Another highlight of the production is the evocative sound design, credited to Olivia Singleton and Daphne Fortrain. The rich, orchestral soundscape brought to mind the best scores of Hans Zimmer or John Williams.

Taking on the roles of the four Pevensie children are Ivy Jones as Lucy, Brinton Stratton as Edmund, Harrison Winkley as Peter, and Liliana Groth as Susan. Their interplay as siblings and their strengths as young actors serve the story well. Samuel Singleton plays the title role with sensitivity and authority. (As with the other performers, these young actors are all members of Logos Theatre’s Academy of the Arts; basically, they grow their own company members.)

Supporting the younger performers with charm and style are John Allen Harrett as comedic dwarf Trumpkin and Christian Lamas as the wise, professorial (half-dwarf!) Cornelius.

The production boasts a sizable ensemble who switch between humans, creatures, and fantastical beasts with aplomb.

True theatrical magic manifested itself onstage in Prince Caspian with the impressive puppets, worked by a stellar team of puppeteers, bringing to life Caspian’s horse Destrier and the majestic lion, Aslan. If you were lucky to have seen the National Theatre’s production of War Horse, or the work of Handspring Puppet Company, you have some idea of the meticulous operation and careful articulation of the life-sized renderings of the horse and the lion. Justin Swain, Jesse Gould, Caleb Mann, Ronan Osteen, Ben Pilgrim, Jeremy Singleton, and Eli Jackson are listed as the puppeteers who handle the trees, Aslan and Destrier.

It should be mentioned that the late founder of the Academy of the Arts and Logos Theatre, Dr. Nicky Chavers (who died in 2021), is the recorded voice of Aslan. His mellifluous, soothing tone — which can be powerful as needed — fits the magnificent lion like a glove.

What of the Christian message baked into the allegorical tale? Oh, it’s there. The lessons of faith and perseverance are central to Caspian’s journey from boy to prince to king, and the quest of the Pevensie siblings. However, the play works on both levels: if you want to walk away uplifted by a powerful message, mission accomplished. Also, if you just want to enjoy or take your family to an engaging, fantasy story with humor and excitement, you will not be disappointed. Prince Caspian is great theater that happens to have a deeper message. Nothing wrong with that at all.

Running Time: Three hours plus a 20-minute intermission.

Prince Caspian plays through April 27, 2024, presented by the Logos Theatre, in association with the C.S. Lewis Company Limited, performing at the World Stage Theater on the fifth and sixth floors of the Museum of the Bible, 400 4th Street SW, Washington, DC. Tickets ($69–$94) are available for purchase online, at the Museum, or by calling (866) 430-MOTB.

SEE ALSO:
Live theater returns to a gem of a venue at the Museum of the Bible (interview feature by John Stoltenberg, January 19, 2023)

The post In ‘Prince Caspian’ at Museum of the Bible, true theatrical magic rules appeared first on DC Theater Arts.