Aldersgate Church Community Theater presents Paul Slade Smith’s The Outsider, a farcical satire about politics and government. Director Eddie Page chose this production because it mirrors our current political climate, stating that there is “no intent to undermine or endorse any party or candidate,” but it “invites us to laugh at the absurdity we all recognize.” What the show offers is a safe space for us to collectively shake our heads, throw up our hands, and laugh — because if we don’t laugh, we’ll cry.

Since the play takes place in only one setting, designer Shah Choudhury is able to transform and flesh out the stage effectively. What we have is a governor’s office: elegant, austere, and somewhat intimidating. Centered under a golden chandelier is a veritable mountain of a desk — one that makes a character muse, “Have you seen a more governor’s-looking desk than this desk?” and effectively swallows the new governor whole — when he takes a seat, all we see is the top of his head peeking out from the polished tabletop.

When a state governor is forced to resign after a salacious affair becomes public, lieutenant governor Ned Newley (Steve Rosenthal) finds himself the unwilling new chief executive. Self-conscious and a bundle of nerves, Newley fumbles and mumbles throughout his swearing-in ceremony, an embarrassing moment that goes viral online. While he shows himself to be extremely intelligent and able when the cameras are off, Newley struggles with his public persona and falls to pieces in front of an audience. Newley’s chief of staff, Dave Riley (Jim Pearson), dives into damage control and works hard to save face, only to discover that the general public is charmed by Newley’s “realness.”

Newley’s new online fame attracts the attention of Arthur Vance (Richard Fiske), an esteemed political consultant who sees victory where Ned and Dave see a lost cause. Vance takes Ned’s “realness” and runs with it, insisting on dumbing down the new governor’s persona with flashcards and overalls and stating that Ned’s “a real phenomenon: a leader who looks like an idiot.” Political pollster Paige Caldwell (Maya Reva) shares the facts — the more inept Newley seems, the more the public adores him. Dave serves as the “straight man” in this farce, the one seemingly sane person who gets more and more bewildered by the chaotic world around him, until he ends up whimpering on the floor in the fetal position.

With things already seeming upside-down, the plot really takes off when Newley’s affable secretary Louise Peakes (Elizabeth Replogle) inserts herself into a live interview. Louise finds herself campaigning on Newley’s ticket. America wants politicians who are “just like us!” but at what cost? Dave finds himself more and more disturbed by what’s going on around him, and takes decisive action to shed light on the absurdity of it all.

The cast works well together, and while perfect polished performances shouldn’t be expected with community theater, the occasional flub wasn’t severe enough to dampen the overall experience. Rounding out the cast are Sara Joy Lebowitz as feisty reporter Rachel Parsons and Charles Dragonette as her cameraman, A.C. Peterson. Dragonette gets laughs throughout the show with his taciturn delivery as a man who can’t be bothered, only for him later to deliver the most memorable monologue of the show. Steve Rosenthal’s comical facial expressions were a hit as well, and Jim Pearson’s escalating anxiety is well done as well. 

Politics is inescapable, especially in the DC Metro area. I think it’s safe to say that a lot of us are thoroughly overwhelmed and — I’ll say it — sick of the subject overall. Still, The Outsider is charming, and it’s refreshing to find some levity in a subject that’s becoming increasingly oppressive with each headline. If there’s ever a perfect time to produce and experience The Outsiders, it’s definitely now.

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

The Outsider plays through October 19, 2025, at Aldersgate Church Community Theater, 1301 Collingwood Road, Alexandria, VA. Tickets ($17.39 with service fee for senior, student, and active-duty military; and $20.57 with service fee for general admission) can be purchased at the door or online.

The Outsider
A Comedy by Paul Slade Smith
Directed by Eddie Page
Produced by Charles Dragonette and Marg Soroos

COVID Safety:  For your health and safety, we invite you to wear your mask while in the building.  All cast and crew are fully vaccinated and boosted.

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Riverside Center for the Performing Arts presents Next to Normal, a Pulitzer- and Tony-winning rock musical, with music by Tom Kitt and book and lyrics by Brian Yorkey. Next to Normal follows a modern-day suburban family as they struggle with their matriarch’s mental illness. Directed by Penny Ayn Maas with music direction by Carson Eubank, Next to Normal is a raw, guttural show that explores heavy themes and mammoth emotions. It’s a big gamble for Riverside, with an even bigger payoff!

The first thing I noticed was a large table in the lobby that offered a wealth of mental health information; from free local support groups to options for individual counseling, helpful pamphlets and business cards were there for the taking. What a considerate and thoughtful idea! However, they weren’t done with their show of support; at my performance, they had a special guest speaker before the performance. Motivational author Antwaun Carey Gay discussed his mother’s struggle with her own mental health in the 1980s and how it affected his own family, including his renowned brother, Motown singer Marvin Gaye. He eloquently described a childhood that, while full of pain and conflict, was also rich and rewarding. Gay encouraged unity during these troubled times, where mental health is experiencing a notable rise. Understanding, support, and compassion for your neighbors and peers are of the utmost importance, and it’s through this bond that we foster hope and healing. His testimony was impactful and appreciated.

Scenic Designer Christian Fleming keeps the stage fairly simple: modern, white furniture creates a clean, almost clinical atmosphere — purposefully plain, but with one big exception: the heavily tilted ceiling, a clever and symbolic design that immediately catches the eye. It’s here that projections are displayed, designed by Duncan Scarpa-Friedman. The projections varied from cloudy, rainy skies to kaleidoscopes of colors, helping to enhance the overall emotional tone. The live orchestra, conducted by Musical Director Carson Eubank, is tucked subtly behind the scenery, and its expert and professional recitals remain one of Riverside’s biggest draws and proudest achievements.

Adrianne Hick stars as Diane, a mother who is struggling with mental illness. The plot has a few very surprising moments and shocking turns that I don’t want to spoil. What I will say is that the cast all do a fantastic job in their roles, including Andrew Foote as Dan, Diana’s husband, Madison Cox as Natalie, Diana’s daughter, and Mason Blaine as Gabe, Diana’s son. The production starts out with “Just Another Day,” an upbeat, cheerful melody with insidious lyrics. This family puts on a happy veneer for the world (and for themselves as well). However, what seems like a typical modern American family is anything but.

Varying themes are explored, from Diana’s frustration with finding the right balance of medication in “My Psychopharmacologist and I” to her daughter’s subsequent anguish in “Superboy and the Invisible Girl.” Hallucinations battle reality in several numbers, including “I Am the One,” and these numbers get big emotional responses from the audience — I heard several people around me sniffling back tears during the somber number “Catch Me I’m Falling.” Dan struggles to be a steadfast and supportive partner in an impossible situation in the number “I’ve Been,” while Natalie explores romance amid turbulence in “Perfect for You,” with Ben Ribler as her love interest, Henry. As Diana continues to spiral, the desperate family looks into more drastic treatments, which have their own painful cost. Diana is left to wonder, “Which is worse, the sickness or the cure?”

Riverside Center for the Performing Arts is taking a real chance with this choice of production. Known for their upbeat classic musicals, they could stick to what they know best and rightfully claim that we would all benefit from lighter entertainment during these trying times (and a reprieve is coming soon with their upcoming production of The Sound of Music), but instead they are facing the darkness head-on and asking you to join the experience. While there are certainly comical moments, and the music is lively and entertaining, this production is undoubtedly a heavy one. However, this is a big part of the art of theater: not just to entertain, but to make a connection and help start important conversations. The message is clear: you are seen, heard, and valued, and together we can forge forward in hope and companionship.

I applaud Riverside for taking on this noteworthy but rarely produced production — one whose subject matter makes other companies hesitate or turn away. This bold choice, when paired with extraordinary live music, performances, and vocals, makes Next to Normal a night of theater to remember!

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

Next to Normal plays through August 3, 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.

PG-13 for self-harm, substance abuse and sexual references.

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

COVID Safety: Patrons are not required to be masked in the facility; but if patrons want to wear a mask, they are welcome to.

Next to Normal
Music by Tom Kitt
Book & Lyrics by Brian Yorkey
Directed by Penny Ayn Maas

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Encore Stage & Studio — widely known as theater “by the youth, for the youth” — presents L. Frank Baum’s beloved classic The Wizard of Oz, with music and lyrics by Harold Arlen and E.Y. Harburg. Director Jared Graham (assisted by Parker Nelson) guides an enthusiastic young ensemble and stage crew as they pursue and develop their artistic passions, with musical direction by Daniel “DJ” Smith. I’d encourage families to take their children to a show with an all-youth cast, not only for the enjoyment of the outing itself, but for the inspiration and encouragement that is fostered in children through watching their peers onstage.

Set Designer Kristen Jepperson uses projections (designed by David Moretti) and large hand-made set pieces to create the atmosphere, with drastic differences in colors and patterns between Oz and Kansas (I was particularly charmed by a large painted tumbleweed — clever!). Technical Director and lead Set Builder Sean Scalsky does a fine job, though there were a couple of elements that could use some fine-tuning. The somewhat muted projections could have been sharper, and the sound cues were a bit abrupt, but perfection shouldn’t be expected in community theater, and they served their purposes well.

Dorothy Gale (Anabelle Ayers Caballero) lives on a simple farm in Kansas with her aunt, uncle, and her dog, Toto (Robert Potter). Her life is a dreary one, and she longs for an adventure in the number “Over the Rainbow.” However, when a tornado sweeps up her home and crash-lands her in a new and magical world, she fast realizes that she only wants to go home, despite her warm welcome by the Munchkins. Thanks to Choreographer Brian Wilson, the ensemble number “Munchkinland” is particularly fun and memorable, with bright colors and bold patterns making up the Munchkins’ wardrobe by Costumer Debra Leonard. When the good witch Glinda (Emily Moser) sends Dorothy on her voyage to seek guidance from The Wizard of Oz, she finds some travel companions along the way. Jazz Buitrago does a great job as the goofy, friendly Scarecrow, who warbles around the stage like a rag doll and decides to ask the Wizard for a brain. Spencer Tilock is the Tin Man, who laments his lack of a heart, and Hamad Aljibreen rounds out their trio as the cowardly Lion, who wishes for courage. Aljibreen’s performance stands out as particularly vibrant, especially with his impressive delivery of the Lion’s affected accent.

However, Dorothy has made a huge enemy upon her arrival — the Wicked Witch of the West, played by Evet Tran, who I’ll admit becomes an audience favorite with her high energy and maniacal cackle. The Witch seeks vengeance after Dorothy’s house crushed her equally evil sister, but is mainly after the magical ruby slippers that Glinda gifted Dorothy before her journey, which would make her even more powerful. The team has to work together to overcome several challenges that she throws at them, including a fun number called “Jitterbug,” when the witch sends a team of insects that bespell the travelers to dance uncontrollably. Once they arrive in Emerald City and meet the Wizard himself (Logan Moore), a whole new set of trials and tribulations await them.

Yes, there are some fumbled line deliveries, and the performances and vocals could use some polishing, but they all do a fine job considering the fact that these are community child actors. I see this as a testament to good, solid direction, and the result of a respectable company that nurtures its students’ potential. Enjoying live theater as a family is great, but there’s a particular magic I’ve found when children experience their fellows perform onstage. I enjoyed experiencing an impressive young cast who work so well together. Encore Stage & Studio’s production of The Wizard of Oz is a solid bet for family entertainment!

Running Time: One hour and 35 minutes, including one 15-minute intermission.

The Wizard of Oz plays through June 8, 2025, presented by Encore Stage & Studio performing at The Thomas Jefferson Community Theatre — 125 South Old Glebe Road, Arlington, VA. Purchase tickets at the door or online. Tickets are $15 for adults; $12 for children, students, military, and seniors (includes service fees). Group rate is $10 per ticket for a group of 10 or more.

Recommended for ages 4 and older.

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Riverside Center for the Performing Arts presents Jesus Christ Superstar, the timeless rock opera from Andrew Lloyd Webber and Tim Rice. Directed by Patrick A’Hearn with musical direction by Carson Eubank, this production is full of powerhouse performances, and when paired with gorgeous and creative technical elements, the result is a real triumph!

Scenic Designer Christian Fleming begins the story in a dated, wood-paneled recording studio. This is a nod to the original concept recording album that inspired the rock opera, and while it’s a bold choice, I believe that it pays off — this is a fantastical story, and beginning it in the modern era gives it a humble relatability while also highlighting the fact that the music is its focal point. This setting eventually gives way to the aged, cracked stone walls of ancient Jerusalem, where Lighting Designer Weston Corey and Sound Designer Cheyenne Tenda use some real awe-inspiring effects. Intricate spotlighting and shadow work coupled with fog effects create a magical, mystical atmosphere that leaves a deep impression. As someone who personally grew up “behind the scenes” in stage crew, the technical elements of this show really blew me away — this production is a techie’s dream come true!

The sung-through opera tells the story of the last days of Jesus of Nazareth (Kevin Cleary). Interestingly, much of the story is told through the viewpoint of Judas Iscariot (Anthony Nuccio), who begins to worry that the Roman Empire is threatened by Jesus and his apostles in the number “Heaven on Their Minds.” He admonishes Jesus for his questionable relationship with Mary Magdalene (Kiley Ernest), and the resulting disagreement is shown in one of the more memorable numbers, “What’s the Buzz.” Caiaphas, the High Priest of Isreal (Anthony Williams), echoes Judas’ concerns about the Romans and decides that Jesus must be executed in the number “This Jesus Must Die.” Throughout these trials, Jesus remains steadfast in his beliefs and convictions, even stubbornly so, and voices his frustration with his apostles in the number “The Last Supper.”

What follows is, of course, the story of Jesus’ arrest and ultimate crucifixion sung through rock music. While the plot is intriguing, Riverside’s attention and resources focus mainly on the music itself. Carson Eubank conducts a fantastic live orchestra, with rich vocals that show a lot of range, especially from Kevin Cleary and Anthony Nuccio, who both nail the high “wail” pitch that’s often associated with rock singers. Standout musical numbers include Mary’s powerful rendition of “I Don’t Know How to Love Him” and the upbeat “King Herod’s Song,” sung by Kathy Halenda and showcasing excellent ensemble choreography by Stephanie Wood. “Judas’ Death” is transfixing and haunting, and the number “Superstar” is a real spectacle!

Riverside Center for the Performing Arts’ production of Jesus Christ Superstar is masterfully done and does a fantastic job of telling the ultimate story of love, betrayal, and redemption. Tickets are selling out fast for this one, so grab a pair while you can!

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

Jesus Christ Superstar plays through April 27, 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.

COVID Safety: Patrons are not required to be masked in the facility; but if patrons want to wear a mask, they are welcome to.

Jesus Christ Superstar
Music by Andrew Lloyd Webber
Lyrics by Tim Rice

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Riverside Center for the Performing Arts presents Heartbreak Hotel, written by Sean Cercone and David Abbinanti, with musical arrangements and orchestrations by David Abbinanti. Based on a concept by Floyd Mutrux, this production seeks to explore Elvis’ humanity rather than his iconic status, with a particular focus on his rise to fame. Directed and choreographed by Jacquez Linder Long and with music direction by Carson Eubank, Heartbreak Hotel gives its audience a look inside Elvis’ vulnerable persona alongside a bevy of memorable musical numbers.

Scenic designer Frank Foster keeps the stage fairly simple (group choreography takes up a lot of space!), while the real onstage “wow” factor is the lighting design by Michael Jarett, who uses multiple projection screens for scenic details as well as intimate spotlighting throughout the production. The stage itself is perhaps the most memorable element; Technical Director and Master Carpenter Christopher Hudert installs giant, flashy marquee framing and an “Elvis” sign fit for the king of rock and roll. Costumes by Erin Welsh span a couple of decades (from the 1940s to the late 1960s), with an assortment of wigs by Bethany Cheek that are especially charming and fun. The technical elements are sleek and professional and come together to give the story a solid foundation to work with.

The show begins in the late 1940s with a young Elvis (Grayson Lewis) at his humble home in Memphis, Tennessee. Though his family is poor, love abounds, shown when his mother Gladys (Sheri Hayden) and father Vernon (Andy Braden) save their money for months in order to buy him a guitar for his 11th birthday. Elvis is inspired by a number of African-American musicians, shown in the number “Welcome to Beale Street,” which includes Leo Jasper Davis as Roy Brown, Anthony Williams as Jackie Brenston, and Tayandra Allan as Sister Rosetta Tharpe. While this is the music he loves, racial tensions of the time force him into the “crooner” stereotype, and a teenage Elvis (Luke Purcell) bores the founder of Sun Records, Sam Phillips (Andy Braden), who says the timid teenager “acts half his age and sings like he’s twice it.” In the memorable number “That’s All Right,” Sam happens upon Elvis and his band having some fun and encourages the exciting new sound.

At first, Sam has a difficult time getting radio stations to play Elvis, with one DJ exclaiming, “He’s a white boy! You trying to get me killed?!” While older people face Elvis with backlash, his popularity soars with younger people. “Elvis Mania Medley” is a great number, performed by his zealous young “fans,” with fun group choreography. As his star rises, so do the pressures of newfound fame, and an already overwhelmed young Elvis is forced to face the death of his beloved mother, a loss that overarches both the rest of the production and Elvis’ life itself. Accompanied by his teen and kid self, the adult Elvis Presley, played by Elliot Litherland, serenades his mother with her favorite song, “Peace in the Valley,” a poignant song with a sadness that echoes through the rest of the show.

We follow the continued rise of Elvis’ career as he faces new challenges, from being drafted into war to being forced into making back-to-back films by his cigar-chomping talent manager Colonel Parker (Ian Lane) to a tumultuous relationship with his young wife Priscilla (Kiley Ernest). Throughout these trials and tribulations, we get a number of great musical numbers, including hits like “Blue Suede Shoes,” “Hard Headed Woman,” and “Are You Lonesome Tonight?” among many others. Though Elvis’ personal life is seemingly on a decline, the show ends on a high note, with Elvis proudly claiming his renowned title as the “King of Rock and Roll.” Strong performances and vocals accompany an even stronger live orchestra, conducted by Carson Eubank. Riverside is well-known for its exceptional live music, and this production is a perfect showcase.

Heartbreak Hotel is full of poignant performances and thrilling musical numbers, and I highly recommend it for an evening out!

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

Heartbreak Hotel plays through March 2, 2025, at Riverside Center for the Performing Arts, 95 Riverside Parkway, Fredericksburg, VA. Tickets ($55–$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. Discounts are available for groups (for details, click here).

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 for Heartbreak Hotel are online here.

COVID Safety: Patrons are not required to be masked in the facility; but if patrons want to wear a mask, they are welcome to.

Heartbreak Hotel
By Sean Cercone and David Abbinanti
Musical Arrangements and Orchestrations by David Abbinanti
Based on a concept by Floyd Mutrux

Directed and choreographed by Jacquez Linder Long
Music direction by Carson Eubank

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Every year, Creative Cauldron hosts a festive Holiday Cabaret Series produced by Associate Artistic Director Matt Conner. This year’s features five performances from December 10 to 19, and I attended the first, Bayla Whitten’s cabaret entitled “All for Anita.” The show was an homage to her beloved “Bubbie” Anita Turk, and the packed, sold-out performance was a testament to her grandmother’s influence. After all, “I didn’t sell out this show,” Bayla stated with a smile, “Bubbie did.”

Candlelit tables make the small blackbox venue even more intimate, and while I’m sure the dimly lit atmosphere was meant to be cozy, I would say that it was full beyond the point of comfort — people who enjoy ample breathing room would not have enjoyed themselves. However, that is my only gripe for the evening, and it is an issue that is soon fixed, as Creative Cauldron is gearing up to move to a new location in 2025.

Bayla opened the cabaret with a bold choice: Barbra Streisand’s showstopper “Don’t Rain on My Parade.” She explained that this number was the last song that her Bubbie saw her perform, and each following song was chosen with thoughtful purpose, from Irvin Berlin’s “What’ll I Do,” which came out the year her Bubbie was born, to George and Ira Gershwin’s “Embraceable You,” which was her grandparents’ wedding song. The set list was full of enjoyable classics, with pictures of her grandmother’s life projected throughout and peppered with sweet and funny anecdotes by Bayla in between numbers. Bayla’s vocals are a pure powerhouse, full of richness and impressive range. She was accompanied by a live band, and the trio did a fantastic job with the material.

The night continued with more beloved songs, including Nat King Cole’s “Unforgettable” and Frank Sinatra’s “You Make Me Feel So Young.” A particularly touching moment happened when Bayla invited two of her Bubbie’s great-grandchildren onstage with her to sing “L-O-V-E,” and had the audience bust into a fit of giggles when they all whipped out kazoos to accompany the band. The show was full of vulnerability, and love radiated throughout the room. Bayla ended the evening with “Dream a Little Dream of Me,” by The Mamas and the Papas, and then thanked the audience for “coming to my therapy session.”

The evening was personal and poignant, filled with lovely renditions of classics that are perfect for honoring a loved one’s memory. The inspired closeness and comfort made this a perfect evening of entertainment for the holiday season, and I thank Ms. Whitten for sharing her grandmother’s touching tribute with us all!

The 2024 Holiday Cabaret Series plays though December 19, 2024, at Creative Cauldron 410 South Maple Avenue, Retail 116, Falls Church, VA. See below for list of upcoming shows, all of which can be live-streamed. Tickets (tier 1 tickets, $30; tier 2 tickets, $25; VIP tables with wine: for 2, $90, for 4: $180; live stream, $15) can be purchased online or by calling 703-436-9948.click here.

Tuesday, December 17: Sally Imbriano in “Together for Christmas”

Wednesday, December 18: Spyros Koliavasilis presents “Songs of the Sea and Carols of Greece”

Thursday, December 19: “A Christmas Pageant” fundraiser presented by Tula & Regina Events

COVID Safety: Creative Cauldron is a mask-optional environment.​ Creative Cauldron’s COVID-19 Theater Protocol is available here.

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Riverside Center for the Performing Arts’ production of Beautiful: The Carole King Musical is live theater at its finest.

Scenic Designer Frank Foster keeps the stage fairly simple, with large set pieces wheeled on and offstage when necessary. The real awe aspect of the set comes from the lighting (designed by Weston Corey), which jumps to life in framed bulbs during the song-and-dance numbers, an effect reminiscent of the original jukebox. Costume Designer Laiah Westlyn uses her wardrobe choices not only to show off stylish looks from the 1960s and ’70s but also to highlight Carole’s personal evolution from modest and dowdy to confident and polished. However, the real technical star of the show is the live music. This is usually the case for Riverside Center, as they’re well-known for their spectacular band and orchestra, but it’s particularly true in this production, where hit songs from the ’60s and ’70s reign supreme. Sound Designer and Engineer Cheyenne Tenda ensures that the music doesn’t overwhelm the vocals and dialogue, and everything comes together seamlessly.

Beautiful showcases the early life and career of celebrated singer/songwriter and composer Carole King, played with spunk and verve by Ashlee Waldbaur. The year is 1958 and Carole is a cheerful, ambitious 16-year-old from Brooklyn who sets out to sell one of her songs to Music Publisher Don Kirshner, played by Andy Braden. He purchases her song “It Might As Well Rain Until September,” and she goes on to meet Gerry Goffin (Brian Nabors), an aspiring lyricist. The two team up to write music together and fall in love in the process. They gain success writing hit songs for musical acts, such as “Some Kind of Wonderful” performed by The Drifters. When Carole becomes pregnant, the pair get married, and life gets busy. Though not as prolific as before, they still produce hit songs such as “Take Good Care of My Baby” and “The Locomotion.” Carole and Gerry find friends in fellow songwriting team Cynthia Weil (Sarah Mae Anderson) and Barry Mann (Matt Beary), and begin a friendly competition that spans decades and produces a full catalog of memorable hits between the foursome. Cynthia and Barry’s hits include “On Broadway” and “You’ve Lost that Lovin’ Feeling.”

As the years go by, both couples face their own relationship hurdles, but Carole and Gerry face especially hard times. Gerry wants to enjoy their success and live the high life in New York City, while Carole is more domestic and is happy to just raise their children in the suburbs. Tension mounts as Gerry grows more restless, inspiring a hurt and confused Carole to write “One Fine Day,” which is a particularly moving number. After emotional turmoil and several infidelities on Gerry’s part, Carole finds the courage to leave the relationship in the powerful number “It’s Too Late.” As Carole matures, she realizes that she’s written her songs for her voice, but she’s notoriously shy and unsure of her stage presence, insisting, “I’m just a regular person. Who wants to see a regular person sing?” Can Carole maintain a successful career on her own, without her music partner? She ventures out to do just that with her debut album Tapestry, and the rest is musical history.

Beautiful is full of spectacular performances, especially from artists of the day The Drifters (TJ Pursley, Don Seward, Carl Williams, and Anthony Williams) and The Shirelles (Kadejah One, Aniyah Lee, Tyandria Jaaber, and Khanner Milan). The group numbers are energetic and fun, with lively, cohesive group choreography. Kadejah is particularly memorable as Lucille and showcases powerhouse vocals. The cast is strong and works well together. Kathy Halenda gets a lot of laughs as Genie, Carole’s well-meaning-if-overbearing mother, and Matt Beary gets laughs as well with his character’s hypochondriac tendencies. The plotline is funny and moving, but it’s the music that will stay with you long afterward, especially Waldbaur’s uplifting rendition of “(You Make Me Feel Like) A Natural Woman.”

I had a great time at Riverside Center for the Performing Arts’ production of Beautiful: The Carole King Musical, and I highly recommend it for a great night of entertainment!

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

Beautiful: The Carole King Musical plays through November 10, 2024, at Riverside Center for the Performing Arts, 95 Riverside Parkway, Fredericksburg, VA. Tickets ($55–$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. Discounts are available for groups (for details click here).

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 for Beautiful: The Carole King Musical are online here.

COVID Safety: Patrons are not required to be masked in the facility; but if patrons want to wear a mask, they are welcome to.

Beautiful: The Carole King Musical
Book by Douglas McGrath
Words and Music by Gerry Goffin and Carole King, Barry Mann & Cynthia Weil
Music by Arrangement with Sony/ATV Publishing
Orchestrations, Vocal and Incidental Music Arrangements by Steve Sidwell
Additional Music Arrangements by Jason Howland

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Riverside Center for the Performing Arts presents L. Frank Baum’s The Wizard of Oz, based on the classic motion picture and adapted by John Kane for the Royal Shakespeare Company. Patrick A’Hearn directs this highly anticipated production, with music and lyrics by Harold Arlen and E.Y. Harburg. Music for this production is directed by David Landrum, with a live orchestra supervised and conducted by Carson Ebank. An exceptional cast expertly delivers nostalgic performances and song-and-dance numbers, easily making this one of the best received Riverside productions to date. Simply put, it’s The Wizard of Oz — what’s not to love?

Scenic designer Christian Fleming uses aged wooden slats to create the muted, dreary Kansas farm, scattered with misshapen hay bales and worn farming equipment. The sweeping “yellow brick road” is there too, except it’s made from the same old, bare wooden boards used in the rest of the set. The road will later transform through lighting designed by Mike Jarett and operated by Kieran Greene. As on the silver screen, it’s color and light that bring life to the stage, along with lively projections and sound effects designed and engineered by Cheyenne Tenda and Bill Carrol. The technical elements of this show are exhaustive and demanding (Tornadoes! Poppy fields! Flying Monkeys!), and the team does a fantastic job bringing the land of Oz to life onstage thanks to the work of an expansive team led by master carpenter Christopher Hudert.

We begin on a somber note with Dorothy (Rebecca Carroll) and her family’s farmhands being scolded for playing when they should be working (“A farm’s no place for fun,” says Auntie Em, played by Andrea Kahane). Dorothy sings about wishing for a happier life in her song “Over the Rainbow” with clear, gorgeous vocals. Her luck worsens when their nasty neighbor Almira Gulch (Kathy Halenda, who later takes on the role of the Wicked Witch of the West) demands that they hand over Dorothy’s beloved dog Toto (to the audience’s delight, he’s played by a real dog!) after claiming that he bit her. Refusing to relinquish her dog, Dorothy decides to run away with him despite the fact that the weather has turned severe. She comes upon a wandering mystic (Robert Biederman, who later plays the Wizard of Oz himself), who encourages her to return home to her aunt, who is surely sick with worry. Touched by this reveal, Dorothy resolutely turns homeward…but the turbulent winds knock her unconscious, and she awakens in the Land of Oz.

Dorothy is welcomed to the Land of Oz by Glinda the Good Witch (Sheri Hayden) and the munchkins (all played by child actors) in the number “Munchkinland.” Hayden’s vocals are as bright and shimmery as her billowy gown — a testament to costumes by Erin Welsh, who does a fantastic job. The background characters (munchkins, jitterbugs, Oz citizens, etc.) are all dressed in a style that reminds me of characters from a Dr. Seuss book: colorful, quirky, and fun. Determined to return home to Kansas, Dorothy takes Glinda’s advice and decides to follow the “Yellow Brick Road” in search of the Wizard of Oz, who is the only person in the land with the power to help her. Adventures await. Dorothy makes several friends — and one frightening enemy bent on destroying her.

The main cast all do a fantastic job with their roles. Larry Toyter is lively and lovable as the Scarecrow, who joins Dorothy on her quest in the number “If I Only Had a Brain.” The Scarecrow, who is made of straw, wishes to have a brain of his very own and decides to ask the Wizard for one. His clumsy slapstick movements get a lot of laughs from the audience and add to his overall endearing quality. Not long after, the friends meet a rusted Tinman (Ariel Messeca), who wishes for a heart in the number “If I Only Had a Heart.” The trio then meet a neurotic Cowardly Lion (Jordan B. Stocksdale), who wishes for bravery in the number “If I Only Had the Nerve.” These unlikely friends help each other through challenging hardships as they voyage to the Land of Oz. My favorite theme of the story is the fact that these three characters’ strongest attributes are in fact the very virtues that they believe they lack; Tinman is an emotional soul who weeps for others, the Lion shows reluctant bravery in dangerous situations, and the Scarecrow outwits many other characters throughout their adventures. Kathy Halenda is very memorable as the Wicked Witch (truly, I can still hear her cackle in my head). Choreographer Stephanie Wood does a great job with the ensemble numbers, my favorites being “Land of Oz” and “Jitterbug.” Lots of great dance styles are featured, predominately tap, and in another notable scene, several snowflakes display graceful ballet moves in the musical number “Poppies.”

It’s amazing what a stellar cast, solid direction, and an efficient, imaginative technical crew can bring to life onstage together, and Riverside’s production of The Wizard of Oz is a shining example of exceptional theater. It was an absolute delight and a real achievement!

Time: Three hours, including one 15-minute intermission.

The Wizard of Oz plays through July 14, 2024, at Riverside Center for the Performing Arts, 95 Riverside Parkway, Fredericksburg, VA. Tickets ($55–$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. Discounts are available for groups (for details click here).

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.

The playbill for The Wizard of Oz is online here.

COVID Safety: Patrons are not required to be masked in the facility; but if patrons want to wear a mask, they are welcome to.

The Wizard of Oz by L. Frank Baum
Music and Lyrics by Harold Arlen and E.Y. Harburg
Background Music by Herbert Stothart
Dance and Vocal Arrangements by Peter Howard
Orchestration by Larry Wilcox
Adapted by John Kane for the Royal Shakespeare Company
Based upon the Classic Motion Picture owned by Turner Entertainment Co. and distributed in all media by Warner Bros.

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The Puppet Co. presents Alice in Wonderland, adapted by Elizabeth Dapo from Lewis Carroll’s novel Alice’s Adventures in Wonderland. Director Kenzy Hinkel leads a trio of puppeteers in this wild production that the young audience thoroughly enjoyed.

I’ve always loved The Puppet Co. Nestled in the beautiful Glen Echo Park, it’s been one of my very favorite venues for over a decade, which is why I jumped at the chance to review this show even though…here I go…I’ve never liked Alice in Wonderland. As a former English Literature major and a lover of children’s literature, I’ve tried to love it. I wanted to love it. Every few years I picked up the book (again) or watched another film adaptation, willing myself to experience the marvel and joy in the oddity that so many others treasured. It never happened, and while I’m mostly alright with that (not everything is for everyone, I get it), I’ll admit to a spark of jealousy whenever I see someone’s eyes light up at the mention of Alice. Where they see wonderment and adventure, I saw a mangled jumble of weirdness that I could never make any sense of, and it made me feel like I was being left out of a special secret. So when I saw that my beloved Puppet Co. took on this tale, I thought: well, if they can’t make me enjoy Alice, nothing or no one ever would.

Before the show, lead performer Ingrid Bork welcomes the children and shows them how the large rod puppets work, using the large stuffed “white rabbit” puppet as an example. The children are immediately interested, and as she answers their questions, Bork compares Alice to a “weird dream.” “Do you ever have weird dreams?” she asks, and as every small hand shoots up, she says, “They don’t make a lot of sense, but they’re fun!” I needed to hear that. Something in my inner child clicked, and I settled in with renewed hope.

In this adaptation, a modern-day Alice’s tablet runs out of battery and her sister encourages her to read a book while it charges. Alice shows disdain at the idea of reading, especially a book without pictures, but decides to give it a try. What follows is 50 minutes of pure chaos and delight. We watch as Alice falls down the rabbit hole and engages with all sorts of crazy characters, from the well-known Cheshire Cat to a gecko wearing a large powdered wig. Alice plays croquet using a flamingo as a mallet and a hedgehog as a ball. She argues with two rude women about how much pepper they’re putting in their soup, and goes to soothe a crying baby that, in a blink, becomes a swaddled pig. After attending a chaotic tea party, riding a hippogriff, and escaping an angry queen, Alice finds herself back home, excited to discuss the adventures with her sister.

Andrew Quilpa and Madeline Regina join Ingrid in puppeteering, and the puppets (designed by Elizabeth Dapo) are as colorful, lively, and intricately detailed as I remember. Dapo is also responsible for the set design, as well as lighting and projections. Songs composed by Tommy Sherrod complete the atmosphere, and the children all seemed to have a fantastic time. The audience is welcome to chat and take pictures with the puppets and performers after the show, which is very special and memorable.

For a fun-packed afternoon with your children, you can’t beat a visit to Glen Echo Park and The Puppet Co. I have never not enjoyed one of their productions, and while I still wouldn’t call myself an Alice in Wonderland fan, I was finally able to experience the magic quality that makes this story beloved by so many.

Running Time: 50 minutes, no intermission.

Alice in Wonderland plays through May 19, 2024 (Thursdays and Fridays at 10:30 am, Saturdays and Sundays at 11:30 am and 1 pm), at the Puppet Co. Playhouse, 7300 Macarthur Blvd, Glen Echo, MD, 20812. Purchase tickets ($15 per person, under age 2 no ticket required) by calling 301.634.5380 or order them online.

Recommended for ages 4+.

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

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Riverside Center for the Performing Arts presents They’re Playing Our Song, with a book by Neil Simon, lyrics by Carole Bayer Sager, and music by Marvin Hamlisch. Patrick A’Hearn directs this production, based on the real-life relationship of Marvin Hamlisch and Carole Bayer Sager. A renowned composer and eccentric, budding lyricist develop a harmonious working relationship, but when romance blossoms, their conflicting personalities threaten to ruin everything they’ve built.

Scenic designer Frank Foster sets two different apartment interiors against a cityscape backdrop; one posh and tidy, the other cramped and mismatched. Technical aspects of the show (directed by Nathan Dunn) all exceed professional standards, including elements from lighting designer Weston Corey and soundboard technician Cheyenne Tenda. However, the real star of the show here is the music, directed by David Landrum and supervised by Carson Eubank. Having a fantastic live band and orchestra is one of Riverside’s best attributes — if you’re a fan of live music, this is the venue for you.

Vernon Gersch (Carson Eubank) is an award-winning composer who’s awaiting the arrival of Sonia Walsk (Ashlee Waldbauer) a lesser-known but promising lyricist, to see if they could potentially work together on a project … that is, if she ever shows up. Vernon is poised, punctual, and visibly displeased when Sonia breezes in well past their meeting time, full of effusive apologies and compliments. She seems to be his opposite in every way; Sonia is informal, talks a mile a minute, and is wildly animated. Costume designer Erin Welsh must have had a great time with Sonia’s wardrobe — she’s a starving artist and relies heavily on her theater friends’ handouts … so that’s to say, her costumes are literally costumes from finished productions. Whether a corseted dress with billowy sleeves or bejeweled cowboy boots, you never know what she’s going to walk onstage in next, a delight that makes Vernon memorably note that she has a “Broadway melody” in her closet. While their personalities largely differ, the two have an easy banter and camaraderie, and they begin writing songs together, including “Falling” and “If He Really Knew Me.”

As their relationship, both business and personal, continues to develop, their conflicting traits begin to drive a wedge between them. Sonia can’t seem to free herself from a codependent and toxic ex-boyfriend named Leon, while Vernon refuses to open up about his emotions and buries himself in his work, to the point that Sonia states, “The piano is your Leon.” Each character has a Greek chorus that represents different parts of their personalities: Kevin Cleary, Chris Florio, and Michael Goltry perform as the voices of Vernon while Jessica Barraclough, Barbara Breen, and Megan Hasses stand in as Sonia’s “girls.” Choreographer Stephanie Wood does a good job with the group numbers, the most memorable being the lively number “Workin’ It Out.”

Vernon and Sonia continue to create beautiful music together, whether it be love ballads when things are good (“When You’re in My Arms”) or emotional numbers when they aren’t (“I Still Believe in Love,” in which Waldbauer delivers a particularly moving performance). The complexities of an individual are studied through the use of the choruses, and show how a relationship between two people can become multifaceted and therefore tricky to navigate, as seen when Vernon impatiently states during an argument, “I don’t know which Sonia I’m angry with right now.”

Overall, all aspects of this show are wonderful. The music and vocals are top-notch, the technical elements polished and professional, and the performances superb. What didn’t hit the mark for me this time at Riverside was merely the material itself: a predictable and lengthy romantic comedy with somewhat dated jokes and dialogue. However, this is purely a personal choice — if romantic comedies are your thing, and especially if you enjoy live music, then They’re Playing Our Song is a good show for you. This production is especially good if you need a “crowd pleaser” for larger groups, or if you want to stay on the safe side in general (want a night out with your conservative mother-in-law? There’s nothing very risqué or awkward to sit through here).

Riverside Center for the Performing Arts They’re Playing Our Song is a simple, safe love story, though that’s not necessarily a bad thing. Though it may not be, in my opinion, the most memorable or exciting of shows, Riverside’s effervescent live music continues to deliver a solid night of entertainment.

Running Time: Three hours, including one 15-minute intermission.

They’re Playing Our Song plays through May 12, 2024, at Riverside Center for the Performing Arts, 95 Riverside Parkway, Fredericksburg, VA. Tickets ($55–$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. Discounts are available for groups (for details click here).

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.

The playbill for They’re Playing Our Song is online here.

COVID Safety: Patrons are not required to be masked in the facility; but if patrons want to wear a mask, they are welcome to.

They’re Playing Our Song
Book by Neil Simon
Music by Marvin Hamlisch
Lyrics by Carole Bayer Sager

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Imagination Stage presents Cinderella: A Salsa Fairy Tale, with book and lyrics by Karen Zacarías and music by Deborah Wicks La Puma. Director Nadia Guevara gives the classic fairy tale a cultural twist with this production, resulting in a lively show about mutual respect and sportsmanship.

Scenic Designer Matthew Keenan transforms the main stage into a typical school hallway, except for the fact that the wall seems to be breaking apart, with cement blocks suspended in the air at odd angles. It’s difficult to describe, but the visual effect is quirky and fun. Lighting Designer Christian D. Henrriquez and Sound Designer Delaney Bray use various effects to enhance the overall tone, alongside projections designed by Jerran Kowalski. The technical elements are professional and complement each other nicely.

Alanna Sibrán is Cinderella, a Spanish-speaking exchange student from Puerto Rico. She’s friendly, smart, and beautiful, much to the chagrin of her spoiled schoolmate and “host sister” Rosa (Ariana Caldwell), who is used to ruling the school and feels threatened by Cinderella’s presence. In another twist, we learn that the Fairy Godmother is away for a spa weekend, leaving her husband Padrino (Enrique Vargas) in charge of all things magical aid. In the number “Ya Vino El Padrino,” we learn that Padrino is inexperienced but optimistic. Due to a magical mishap (one of a few), Cinderella’s “ball” becomes a high-stakes basketball tryout, with Cinderella and Rosa competing against each other. Will Padrino be able to help Cinderella and Rosa see past their differences and insecurities?

The “Cinderella” plotline takes a lot of liberties — if you’re looking for a classic retelling, this isn’t it. However, the musical numbers (directed by Tiffany Underwood Holmes) are memorable and fun, particularly “Zapatos Magicos,” which showcases the lively style of Salsa, choreographed by Maurice Johnson. “Comparison Rap” is memorable in its own right, highlighting one of the main values of the show as Rosa asks “Do I dare compare red apples to green pears?” The actors all do a great job with their roles, but Tyrell Stanley steals every scene he’s in as Joey, Rosa’s enthusiastic friend who (quite literally) cheers both girls on throughout the show.

Multiculturalism is on the rise in children’s entertainment. One thing I learned about growing up in the DMV area is that we can take our cultural abundance for granted. I went to J.E.B. Stuart (since re-named Justice) High School, and was used to hearing about four or five different languages in the hallways in between classes. I remember going to college as a freshman and being taken aback by the fact that everyone on campus looked just like me, and when I recalled my culture shock to my mother, she had to remind me that the majority of our country wasn’t nearly as diverse as what I was used to. I appreciate that I grew up with so much cultural exposure, but not everyone is so lucky. I’m glad that shows like this are being produced as part of a bigger effort to help bridge the cultural gaps.

Imagination Stage’s Cinderella: A Salsa Fairy Tale is silly and fun, but it also provides a good opportunity to start a meaningful conversation with your kids. If you’re looking for some culture — here it is.

Running Time: Approximately 75 minutes with no intermission.

Cinderella: A Salsa Fairy Tale plays through April 7, 2024, at Imagination Stage – 4908 Auburn Ave., Bethesda, MD. Shows are on Saturdays and Sundays at 9:00 am, 10:30 am, and 12:00 pm. Tickets ($12 and up) may be purchased online, in person at Imagination Stage’s box office, or by phone at 301-280-1660. Group rates are available for parties of 10+.

Best for ages 5+

COVID Safety: masks are optional.

Cinderella: A Salsa Fairy Tale
Book and lyrics by Karen Zacarias
Music by Deborah Wicks La Puma
Directed by Nadia Guevara

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Creative Cauldron presents Working, from the book by Studs Terkel and adapted by Stephen Schwartz and Nina Faso, with songs by Craig Carnelia, Micki Grant, Lin-Manuel Miranda, Mary Rodgers, Susan Birkenhead, Stephen Schwartz, and James Taylor. Matt Conner directs this production, which is based on Terkel’s best-selling book of interviews with American workers. Something that makes this show particularly special is the fact that it has been updated and revised into an optional “localized” format (originally conceived by Daniel C. Levine, artistic director ACT of CT), which means that the communities who choose to produce it can truly make it their own. Creative Cauldron has done just that, showcasing testimonies from all over Falls Church, from local restaurant managers to its own mayor, Letti Hardy.

Paige Rammelkamp directs a live orchestra offstage, which is impressive given the intimate space of the black box theater. To maximize the space’s potential and give the actors plenty of room for their choreography, set designer Margie Jervis (who also does costumes and props) relies heavily on projections designed by James Morrison. The projections are backdrops familiar to the average working citizen, ranging from restaurant menus and construction sites to a teacher’s blackboard, and lighting designer Lynn Joslin uses various effects to lend emotion and depth to the musical numbers. While the overall technical elements are professional and impressive, the heart of the show is in the performances and vocals of the ensemble.

The cast members all take on a number of roles that cover a myriad of professions, from a pizza delivery boy to a hedge fund manager. There are many notable numbers in this show, and they all stand out for different reasons. Stefan Sittig’s choreography was most memorable for me in Sally Imbriano’s number “Millwork,” which incorporates the monotonous, repetitive motions that become second nature to millions of people who work in factories. Erin Granfield does a great job with “Nobody Tells Me How,” where she portrays Rose, an experienced school teacher who has become disenchanted with the way the profession has evolved over the years. With new teaching strategies, resources, and rules being forced upon her, she feels defeated, hopeless, and exhausted. A sense of being stressed and overwhelmed is a large theme in this show. It’s a familiar thread that unfortunately connects the vast majority of working people and a steady, heavy undertone of the show.

There are lively numbers that help pick up the mood, though: Tony Lemus gives a happy-go-lucky performance in “Delivery,” and Molly Rumberger is hilarious in “It’s an Art,” where she portrays Delores, the stereotypical waitress-who-is-really-an-actress who uses her serving job as her stage…literally. Chelsea Majors’ song “Cleanin’ Women” is inspiring and uplifting, but in my opinion, the number that stands out the most is Oscar Salvador’s turn as “Joe,” a retiree who reminisces about his youth. This song easily received the most emotional response from the audience, which only deepened as it transitioned into the perspective of his caregiver in “A Very Good Day.” As a professional caregiver myself, this number resonated with me the most. The ensemble works very well together and shows a lot of vocal talent!

There isn’t an ongoing plot to focus on. The show is more of a study of the American workforce in general, focusing on the “under the radar” jobs that most of us take for granted daily. It is made even more interesting because this show is truly unique. The focus is our own Falls Church — after this run, it cannot be recreated. The organization of Creative Cauldron itself finds many ways to shine in this show, my favorite being how they feature their very own Learning Theater students in the interviews.

Working is a good show to catch with a group of friends. The post-show topics for conversation are endless — we all work in one way or another (if we’re lucky), and you may be surprised and intrigued by how different aspects of the performances and testimonies resonate with everyone, and what you can learn about each other as a result.

Running Time: One hour and 30 minutes, without an intermission.

Working plays through March 3, 2024, at Creative Cauldron – 410 South Maple Avenue, Falls Church, VA. For tickets (Tier One: $50, Tier Two: $40, Students: $25, Live Stream: $15), call (703) 436-9948 or purchase them online.

Thursdays, Fridays & Saturdays at 7:30 pm
Sundays at 2:00 pm & 7:00 pm
Live Stream Performance Saturday, March 2 at 7:30 pm

The program for Working can be viewed here.

COVID Safety: Creative Cauldron is a mask-optional environment.​ Creative Cauldron’s COVID-19 Theater Protocol is available online.

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