Elle Woods struts into Bowie Playhouse in a glittering pink storm, and the result is a delightfully upbeat evening of dancing, music, and heart. 2nd Star Productions’ Legally Blonde the Musical, directed by company regular Summer Moore, takes the beloved 2001 film and transforms it into a buoyant spectacle that celebrates determination, self-growth, and exceeding expectations.

From its opening number, “Omigod You Guys,” the ensemble sets a tone of high-octane energy, and a high bar for an ambitious choreography designed by Ade Babayemi. The production maintains an energetic momentum, bouncing from Delta Nu sorority silliness to Harvard Law drama, but does the work while navigating dated humor and jokes from the 2007 musical.

At the center is Elle Woods, played with sparkling charisma and warmth by Sydney Forrester-Wilson. Her Elle is more than a pink-clad caricature — she grounds the comedy with genuine heart, especially highlighted through the Act I closer, “So Much Better,” which brought cheers from the audience on opening night.

There is an impressive depth and messaging in this show’s casting. Forrester-Wilson, as a Black woman, adds another dimension to Elle’s struggle within Harvard, under the controlling oppression of the academic hegemony. Paired with powerful vocals and charming energy on stage, she brings a new and interesting take to this classic character.

Among the supporting cast, Jason Fowler as Emmett charms with an easygoing sincerity, his duets with Elle highlighting a chemistry that underpins her transformation. Natasha Alston as Paulette earns some of the biggest laughs of the evening, especially in the riotous “Bend and Snap,” while Willie Hadnot Jr. as Warner nails the entitled swagger of the ex-boyfriend who sparks Elle’s journey. The ensemble, too, deserves recognition for their athletic dancing and comic timing, particularly amplified by the muse team that backs Elle up through her time at Harvard.

Visually, the production embraces the show’s candy-colored aesthetic. The set fluidly shifts from sorority house to Harvard classroom to courtroom, with clever touches that keep transitions brisk. Costumes, of course, lean unapologetically into pinks and pastels, but they also underscore Elle’s growth: her wardrobe evolves alongside her confidence. The lighting design (Amariya Kailo) manages a very exciting theme with the story and scenes. Green hues for Paulette, bright and playful in the beginning as the characters approach their problems with hope, much more somber as the realities of their respective situations develop.

Moore’s direction strikes a fine balance between camp and sincerity, with moments of impressive staging. A standout moment of this direction occurs when Elle is learning of her acceptance into the coveted internship. While all the characters go into slow motion, highlighting Elle’s anxiety, Fowler’s Emmet moves through the crowd to pull Elle out of the anxiety bubble.

The orchestra, under the baton of Emily Sergo, keeps the score zippy and infectious, with strong support for the singers and a the varied range of harmonies and abilities.

The Bowie Playhouse audience responded with support throughout, and a standing ovation at curtain call. Legally Blonde resonates as a fun pop musical, nearly two decades after its Broadway debut, but it could benefit from an aware reassessment of its work and some of its numbers. There are some cringeworthy jokes and songs that do not survive the test of time (are we really still doing the “Is he gay or is he European” joke?). However, this was a fair win for the team from 2nd Star and Bowie Playhouse.

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

Legally Blonde the Musical plays through October 4, 2025 (Fridays and Saturdays at 8 p.m., Sundays at 2 p.m.), presented by 2nd Star Productions performing at The Bowie Playhouse — 16500 White Marsh Park Drive in Bowie, MD. Tickets are $30 (general admission), $27 (seniors 62+), $19 (children under 12); group rates are also available. Purchase tickets through 2nd Star Productions’ online.

COVID Safety: Masks are encouraged but not required.

Legally Blonde the Musical
Music and Lyrics by Laurence O’Keefe and Nell Benjamin
Book by Heather Hach
Based on the novel by Amanda Brown and the Metro-Goldwyn-Mayer motion picture
Directed by Summer Moore

CAST
Sydney Forrester-Wilson: Elle Woods
Jason Fowler: Emmett Forrest
Willie Hadnot Jr.: Warner Huntington III
Natasha Alston: Paulette
Julie Mimms: Brooke Wyndham
Eric Meadows: Professor Callahan
Neva Keuroglian Sullivan: Vivienne Kensington
Shayna Bloom: Enid Hoopes
Bonnie Millener: Margot
Anya Lengbeyer: Serena
Jillian Curd: Pilar
Maura Campbell: Kate
Madison Recktenwald: Delta Nu/Ensemble
Marcus Wilder: Delta Nu/Ensemble
Lori Bonnette: Ensemble
Steve Campbell: Ensemble
Ashley Bower Chaij: Ensemble
Quintin Contreras: Ensemble
Steven Fuentes: Ensemble
Bryan Hargraves: Sundeep Padamadan/Ensemble
Katrina Jackson: Ensemble
Shawford Jackson: Aaron Schultz/Ensemble
Andy Lawrie: Ensemble
Taylor Mitchell: Ensemble
Sean Morton: Ensemble
Leon Nguyen: Ensemble
Laura Paez: Ensemble
George Willis: Elle’s Dad/Ensemble
Rowan Campbell: Standby (Elle Woods, 9/27 & 9/28)
Will Townsend: Standby (Warner Huntington III, 9/27 & 9/28)
Diana Almeida: Standby (Paulette, 9/27 & 9/28)
Otega Okurume: Standby (Elle’s Dad/Ensemble, 9/5, 9/12, 9/13, 9/14)

Alternate Casting Schedule:
September 27 at 8 p.m. & September 28 at 2 p.m.
Rowan Campbell as Elle Woods
Diana Almeida as Paulette
Will Townsend as Warner Huntington III

PRODUCTION TEAM
Summer Moore: Director
Otega Okurume & Sonja Dinkins: Producers
Emily Sergo: Music Director
Ade Babayemi: Choreographer
Nicole Mullins: Assistant Director
Tyler Hart: Stage Manager
Abigail Fagbohunka: Assistant Choreographer
Bex Hoover: Assistant Stage Manager
Emily Sergo: Conductor
Gerald George & Onyx Cummings: Set Designers
Felicia Moore: Costume Designer
Doreen Roberts & Cheramie J. Jackson: Props Designers
Alexandra Johnson: Makeup/Hair Designer
Kassandra (Kasey) Norman: Hair Designer
Gene Valendo: Lead Carpenter
Ana-Alicia Collazo: Lead Set Painter
Kayla Grange: Assistant Costume Designer
Amariya Kailo: Lighting Consultant
Marianne Virnelson: Rehearsal Assistant
Andrea Trent: Artistic Director for 2nd Star
Katie Riegel: Executive Producer for 2nd Star

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The Theatre Lab’s production of Hadestown: Teen Edition, which ran for one weekend at the Atlas Performing Arts Center, is nothing short of impressive. Presented by this year’s first cohort of the 2025 Musical Theatre Institute for Teens (MTIT), this ambitious retelling of Anaïs Mitchell’s Tony- and Grammy-winning musical pulses with heart, professionalism, and enthusiasm from its teenage cast and its audience.

For those unfamiliar, Hadestown intertwines the ancient Greek myths of Orpheus and Eurydice with those of Hades and Persephone, reimagining the underworld as a Depression-era industrial wasteland, where love is tested by poverty, power, and fate. It’s an emotionally rich and musically complex show that’s a bold undertaking for any company — let alone one composed of performers aged 13 to 19. But under the direction of Theatre Lab co-founder Deb Gottesman, the young cast works hard to meet the challenge of an incredibly complex production.

From the opening number, the ensemble of over 30 performers commands attention. Music director Lucia LaNave deserves high praise for guiding the cast through Mitchell’s folk-blues-jazz score, maintaining the haunting lyricism that makes Hadestown so memorable. The band adds texture and soul to each number, from the tender “Come Home With Me” to the rousing “Why We Build the Wall.” With an ensemble of that size, the stage at times felt crowded in both its choreography and harmonic output, but given the priorities of the Lab, many of the performers were given a moment to shine, whether they were students on track to a professional attempt at the industry, or students who were brand new to the stage. The production was absolutely bolstered by a supportive crowd of family and friends. And obviously, it’s always fun to watch your friends and family on a stage as cool as Atlas.

Special commendation goes to the young performers in the leading roles. Orpheus (Charles Green) and Eurydice (Reagan Scott) are strong presences, imbuing their doomed romance with both youthful optimism and heartbreaking inevitability. Scott is an excellent singer and navigates her character’s journey to the underworld with a sympathetic heart. Persephone (Mayumi Gant) imbues her character with internalized fury as she navigates a controlling portrayal of Hades (Santiago De Leon Pereira).

The production also benefits from a cohesive unity. The cast has posted on TikTok their joy in working on this production. Whether playing the omniscient Fates (Ayla Collins, Claudia Cutting, Tabitha Voth), the oppressed workers of the underworld, or bustling townsfolk, each cast member contributes to the cohesive atmosphere that Hadestown requires — a world where the mythic feels grounded, and the personal feels epic. As Hermes, a role where different actors traded off the role at different points (Carrie Johnson, Micah Thomas, Sev Conley, Maggie Campione), all brought a different and interesting perspective to the canonically ephemeral messenger of the gods.

The lighting (Ben Harvey) helped in creating that grounded world, reds and shadows for the industrialized underworld, brighter blues and momentary flash of brightness for the spring that Persephone brings when she gets a brief reprieve from the underworld.

But perhaps most moving is the way this production showcases what arts education can achieve. The MTIT’s four-week intensive doesn’t just culminate in a musical — it results in a fully realized work of art where young performers are empowered to take on mature material with integrity and artistry. The Theatre Lab has long been a leader in this space, and this staging of Hadestown: Teen Edition reinforces why.

In a summer filled with high-octane blockbusters, this youth-driven production offers something deeper: a reminder that the power of live theater lies not just in spectacle, but in story, connection, and the belief that even the youngest voices can carry ancient truths.

Running Time: Approximately two hours and 20 minutes, with one intermission.

Hadestown: Teen Edition played July 10 to 12, 2025, presented by The Theatre Lab performing at Atlas Performing Arts Center, 1333 H St NE, Washington, DC.

CAST
Orpheus – Charles Green
Eurydice – Reagan Scott
Persephone – Mayumi Gant
Hades – Santiago de Leon Pereira
Hermes – Carrie Johnson
Hermes – Micah Thomas
Hermes – Sev Conley
Hermes – Maggie Campione
Fate 1 – Clotho – Claudia Cutting
Fate 2 – Lachesis – Tabitha Voth
Fate 3 – Atropos – Ayla Collins
Ensemble – Kayleigh Berkoski
Ensemble – Cameron Best
Ensemble – Haya Bocoum
Ensemble – Joy Charbonneau
Ensemble – Clara Cortelletti
Ensemble – Juliana Cortelletti
Ensemble – Deacon Crenshaw
Ensemble – Emma Davidoff
Ensemble – Baslel Dinessa
Ensemble – Noah Golden
Ensemble – Annalise Grindstaff
Ensemble – Oliver Harman
Ensemble – Laney Hart
Ensemble – Zora Hollingsworth
Ensemble – Caroline Hutchins
Ensemble – Sean Keeley
Ensemble – Daniel Levine
Ensemble – Ada O’Connor
Ensemble – Onyx Shareno
Ensemble – Sonia Skolnik
Ensemble – Abigail Smith
Ensemble – Isabella Swingler
Ensemble – Naiah Weetjens
Understudy for Orpheus – Oliver Harman
Understudy for Eurydice – Kayleigh Berkoski
Understudy for Persephone – Joy Charbonneau
Understudy for Hades – Basleel Dinessa
Understudy for Hermes – Deacon Crenshaw
Understudy for Hermes – Cameron Best
Understudy for Hermes – Laney Hart
Understudy for Hermes – Sean Keeley
Understudy for Fate 1 – Clara Cortelletti
Understudy for Fate 2 – Annalise Grindstaff
Understudy for Fate 3 – Caroline Hutchins
Dance Captain – Emma Davidoff
Dance Captain – Haya Bocoum

CREATIVE AND PRODUCTION
Program Director – Deb Gottesman
Music Director – Lucia LaNave
Choreographer – Sarah Frances Williams
Assistant Director – Sayaka Yamamoto
Assistant Choreographer – Mayumi Gant
Stage Manager – Justine Morris
Production Manager – Angelo Merenda
Technical Director – Taariq Saadiq
Set Designer – Reuben Rosenthal
Costume Designer – Maria Bissex
Lighting Designer – Ben Harvey
Audio Engineer – Kiefer Cure
Carpenter – Martin Gardner
Rehearsal Assistant Stage Manager / Run Crew Chief – Jo’Lauren Peele
Rehearsal Assistant Stage Manager / Run Crew Chief – Dahvi Walker
Light Board Operator – Jaye Overton
Sound Board Operator – Zhy Strowbridge
Spotlight Operator – Velli Jones
Spotlight Operator – Dante Jones
Spotlight Operator – Randi Lee
Spotlight Operator – Hakeem Ford
Fly Crew – Billy Barnes
Fly Crew – Malcolm Eckel
Qlab Operator / A2 – Shiloh Coleman
A2 – Adam Franks
A2 / Wardrobe Crew – Tyler Lindsey
Wardrobe Crew – Joseph Jackson
Wardrobe Crew – Grace Million
Run Crew – Carlos Hernandez Jr.
Run Crew – Nicholas Montgomery
Run Crew – Mahdi Shakur
Run Crew – D’Nya Slaughter
Run Crew – Natalie Pertz

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The pitch for this production could have been: “What if circus, but sexy.”

New York Circus Project’s Liquid is a 75-minute punk rock circus experience at the converted Dock5 space in Northeast’s Union Market, and it delivers a wild, subversive joyride. If you’re expecting a polite three-ring extravaganza or a sit-back, pass-the-popcorn evening, you’ll be pleasantly unprepared for this riot of physical talent, acrobatic feats, and risqué performances.

The plot centers on Billy (Joel Herzfeld), a reclusive water-bottle salesman who is brought into a wild, subversive world of leather, fishnet stockings, and a few not-so-subtle BDSM and kink scenes.

This is probably one of the few spaces where audiences can safely experience the high-flying and impressive acrobatics with trapeze and aerial straps (Julia Baccellieri and Lindsay Culbert Olds) so close to the stage. Billy then follows a crew of punk-inspired artists led by hand-balancing artist Maria Pucciarelli (with impressive hand-to-hand work from Cole Bennington). The adrenaline from that performance leads into a different kind of rush from a whipping performance (Lindsay Culbert-Olds), combined with an aerial performance with metal chains (Caroline Bertorello). This is the kind of show where you might discover something new about yourself.

And the juggling (Kellin Quinn)! And the tap dancing (Emiko Nakagawa and Daniel Sullivan)! If these words don’t immediately bring the word “Hot!” to mind … well, that would make sense. But not after you see this show. Director Sam Landa and writer Jacob Tischler are able to weave an entire experience that goes beyond spectacle and share a story that is simple yet resonates with many in this notably younger Millennial and older Gen Z audience. These creatives know what their audiences are looking for.

The Dock5 space in Union Market, located just above the restaurant stalls, has been converted into a grunge warehouse club scene, with a graffiti- and vinyl-decorated stage space, a makeshift bar, and punk bass playing. (Jill Horne created the “Vinyl Girl” installation and did the graffiti painting.) The seats are either VIP table selections or tightly packed folding chairs lining a thrust-style performance space. Get there early as seats are first come first served, and note that the chairs are packed close together.

The lighting by Nate Files fractures the stage into shards of electric white and hazy reds — perfectly echoing graffiti-splattered, punk warehouse vibes from the ’80s through the ’90s. With music (Nick Wilders) that evokes the Clash, Green Day, and Avril Lavigne, each performance seems to be an homage to the history of some of the better-known punk artists (bold choice, given DC’s influential punk scene).

This is New York Circus Project’s second production in the District, after a circus adaptation of Hamlet last year in the same space. This is a touring group that understands how to tell stories as a part of their circus performances, much like Cirque du Soleil (of which the cast features a few alumni). Opening weekend was already selling out fast, and there’s little doubt this production will do the same with its short, but exhilarating run.

Running Time: 60 minutes, no intermission.

Liquid plays through June 7, 2025, presented by New York Circus Project performing at Union Market District’s Dock5, 1309 5th Street Northeast, Washington, DC. Tickets are $49 and can be purchased online.

The program is online here.

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When Shakespeare penned “All the world’s a stage,” he couldn’t have imagined Washington, DC’s Mount Pleasant neighborhood doubling as one. From May 24 through June 1, 2025, audiences meander along Mount Pleasant Street NW — sipping a drink at the Raven Grill one moment, joining a trivia night at the local pub the next — as five short, site-specific plays unfold around them. Each vignette, drawn from true community stories gathered in late-2024 workshops, becomes a tiny rom-com first date: the meet-cute, the misstep, the spark of possibility. Rather than offering social commentary, DC, I Love You: First Dates invites us to pause and “romanticize our lives” against the vibrant backdrop of everyday DC locales.

In an audience of mostly locals, many of us surprised to be part of a tour group, donned in earplugged audio system, and with a flag-carrying guide leading the way, we are engaged to explore a part of the city that, frankly, I should have already known plenty about. As we pop from vignette to scene, the full story comes across through learning about the history of the bar where the first dates happen.

This also puts the audience in an unusual spot, where suddenly we are also the object of passersby’s curiosity. To enjoy the reaction of a stranger realizing that they’re about to walk through the middle of a play is as amusing as it is just the right amount of socially awkward.

The Genesis of “Dates”
Katherine Harroff, Folger Shakespeare Library’s Director of Engagement and creator of the “I Love You” series, knew she wanted more than just love stories — she yearned for the thrill of beginnings. “Although I’ve created several iterations of the ‘I Love You’ series centered on community stories, I’d never focused entirely on first dates,” she explains. In community workshops held at Folger branches and DCPL sites across Mount Pleasant and Anacostia, Harroff introduced writing prompts — one about first dates in particular resonated deeply. “It turned out to be an exciting, open-ended theme that allowed me to incorporate a wide range of workshop stories and showcase a large, diverse cast of characters,” she says. Those authentic anecdotes — joyful, awkward, hopeful — now form the backbone of these five playful scenes.

Why Community-Centered Performance?
“DC’s communities deserve just as much of a platform for storytelling as our political stage, which often overshadows everyday experiences,” Harroff reflects. By staging narratives where they happened — cafés, corner stores, neighborhood hotspots — the production layers intimacy atop authenticity. “Performing in the community adds another layer of intimacy — placing real stories in the places they’d naturally occur and inviting audiences to witness that connection,” she notes. In doing so, Harroff deepens ties not only between performers and their roots but between neighbor and neighbor.

A Broadening Audience
Since its debut under the umbrella of the DC Amplified Project — a three-part initiative gathering Washingtonians’ stories — the “I Love You” series has seen audience composition evolve. “When you center storytelling around the community, you attract a broader, more diverse audience who see themselves reflected in the work,” Harroff observes. Word-of-mouth has been particularly impactful: folks who might never have crossed the Folger threshold now find front-row seats just blocks from home. The result is a self-sustaining celebration of local life, uniting long-time residents, newcomers, young couples, and teetotalers alike.

Folger’s Mission in Action
At its core, Folger Shakespeare Library champions the idea that Shakespeare’s mirror to society can — and should — reflect every voice. “Community Engagement is all about building bridges — creating pathways for those who may be outside our usual reach and may not even know about our incredible collection,” Harroff says. The DC, I Love You events embody that mission: sharing Shakespeare’s spirit of empathy through the lens of modern love, offering accessible art experiences woven into the fabric of daily life.

What’s Next? DC, I Love You: Ready or Not
After the flirtatious first glances of First Dates in Mount Pleasant, the series flirts with the unexpected at the Folger itself. From June 14 to 22, DC, I Love You: Ready or Not transports audiences into a rom-com fantasy, where a character finds herself inside a movie — and maybe, so do we. As Harroff hints, deeper dives into DC’s love lives are on the horizon, with plans for future installments in Anacostia and beyond (see The Washington Post’s report.)

Embrace the whimsy of real DC stories and discover why, in this city of monuments, the everyday still holds the greatest dramas of all.

• DC, I Love You: First Dates (sold out)
  May 24 – June 1, 2025 | Mount Pleasant neighborhood | Tickets: $30, or $50 for two (21+)
• DC, I Love You: Ready or Not
  June 14 – June 22, 2025 | Folger Shakespeare Library | Tickets: $30, or $50 for two

There are six different time slots, beginning at 1pm with limited capacity for each event. To reserve tickets or for more information, go online or call the Folger Box Office at (202) 544-7077.

SEE ALSO:
True rom-com series ‘DC, I Love You: Ready or Not’ opens its heart at Folgerr (review by Moira Gleason, June 15, 2025)
Folger’s ‘DC, I Love You’ to enact real love stories in Mount Pleasant and Capitol Hill (news story, May 12, 2025)

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Footloose the musical … is not a very good musical. It is campy to the point of cringe. The story shifts wildly between overtly self-serious and goofy. And the book is dated to the extent that, in the wrong hands, it could come off as tone-deaf. That said, NextStop Theatre Company’s production of Footloose is a high-energy, vibrant, and fun evening set to a nostalgia-tinged soundtrack. (And I did wear cowboy boots to this production.)

As we arrive, we are asked to share the songs that defined our high school years by writing them on sticky notes and sticking them to the wall. From the moment the band strikes up the title number, the cast beams with enthusiasm and energy, and the fun they’re having is contagious.

The musical, based on the 1984 movie of the same name, is itself based on a true story. Chicago transplant Ren McCormack, here played by Jeremy Allen Crawford, arrives in small town Bowmont to discover the town has an ordinance against dancing, because religion. The teens in the play go on to petition the council to overturn the ban. Remember how I said this play is dated? This type of thing doesn’t even surprise us enough to be called news today.

Crawford, with charm and eagerness, anchors the production with strong vocals, portraying Ren as awkward and clownish rather than brooding, and he delivers exceptional athleticism in songs like “I Can’t Stand Still.” Brigid Wallace Harper shines as Ariel with her charisma and vulnerability, bringing down the house with “Holding Out for a Hero.”

Kimberly Camacho (Rusty) is one of the evening’s highlights. Rusty is a role that’s easy to overlook, but it has the potential to carry the show with “Somebody’s Eyes” and “Let’s Hear It for the Boy.” Leading the adult characters, Carolyn Burke (Ren’s mom, Ethel), Jennifer Redford (Vi), and Brent Stone (Reverend Shaw) all bring a much-needed balance to their roles, offering a refreshing contrast while the rest of the cast embraces the energy of teenage hormones. This approach works well, and their performances provide pleasant breaks from the high intensity of most of the production.

And given the small space, that high energy does occasionally feel cramped, especially when the entire cast is on stage. Choreographer Stefan Sittig nonetheless has some fun moments, particularly in the pieces with fewer performers. “Somebody’s Eyes Are Watching” makes good use of the space, embracing the elevation of the multi-level set. And using the performers to model the car in the opening number was a fun touch.

Jack Golden’s set works on an industrial style that flips effectively whether it’s a church, a restaurant, or a bridge overlooking a river. Music Director Lucia Lanave has played to every performer’s strength, adjusting the band and vocal ranges so that each musical performance has a chance to shine. Along with Kenny Neal (sound design and Helen Hayes winner), the space and music feel comfortable to listen to, despite some unfortunate technical issues from what seemed to be aging music speakers.

Footloose the musical can easily be done poorly if approached lazily. Ricky Drummond has spoken previously of how he approached this musical with the intention of letting it speak for itself, but there are some decisive choices made that improve the work. The teenagers in the story are represented with a childish defiance, the adults with patient maturity. Some major problematic topics are softened or addressed — thank you for pivoting on the “Rap” btw (IYKYK). Ariel is brought in as a third for “Learning to Be Silent,” usually a duo between Vi and Ethel, adding an additional layer to highlight a paternalistic environment they’re all trapped in. (Although it’s wild that this song exists in this play and the only women-led songs afterward are “Let’s Hear It for the Boy” and “Holding Out for a Hero.”) Because of these choices, audiences can focus instead on the fun moments and celebrate this cast and crew’s talents.

I look forward to seeing this exceptionally talented cast and crew in future shows, but please no more Footloose. This show was a late addition to the season, and the last production selected by the outgoing artistic director Evan Hoffman, hoping to “embrace joy and silliness” during a challenging year. New artistic leader Heather Lanza has announced a season that focuses on change and embracing a world in transition, something Virginia and NextStop audiences can look forward to. Footloose at NextStop, in the meantime, allows for a raucous and fun conclusion to the Hoffman era.

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

Footloose plays through June 8, 2025, at NextStop Theatre Company, located at 269 Sunset Park Drive in Herndon, VA. Tickets, priced at $55 with a $2 convenience fee, are available for purchase online or by calling the box office at (703) 481-5930, extension 1. For more information, email BoxOffice@NextStopTheatre.org.

The program is available here.

Footloose 
Stage Adaptation by Dean Pitchford & Walter Bobbie
Based on the original screenplay by Dean Pitchford
Music by Tom Snow; Lyrics by Dean Pitchford
Additional Music by Eric Carmen, Sammy Hagar, Kenny Loggins & Jim Steinman
Directed by Ricky Drummond

SEE ALSO:
NextStop Theatre Company announces 2025/26 season (news story, May 8, 2025)

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Prologue Theatre is up atop the ranks as one of the region’s most interesting and entertaining independent theaters, and really can’t be missed. After spending 2024 producing works at Atlas Performing Arts Center on H Street, notably Marjorie Prime last year, Prologue has moved venues to… behind a CVS.

To be fair, it’s behind a CVS in the coziest library I’ve seen, and absolutely worth a visit on its own, but it’s also definitely worth a visit for this DC premiere production of Muffed. Here, Prologue has taken over one of the side rooms of the library for this play within a reading within a play (or maybe it’s a reading within a play within the play?), and has gone ahead and delivered the most enjoyable evening of theater I’ve had in 2025.

Muffed — full title: The Meaningful Action Theatre Company Presents a Workshop Reading of “Muffed: A Recounting of Farmington, Maine’s 43rd Annual Chester Greenwood Day Devised by the Members of the Meaningful Action Theatre Company” (yikes, there went my word count) — is an example of theater done simply and delivering more than you would expect. Zack Peercy’s play evokes the Come From Away or Laramie Project type of storytelling, without the leaden seriousness, and devises a work that just aims to entertain while also telling the story of (oh my gosh… this is true) a town where earmuffs were invented and the day honoring the inventor.

…

The ellipses? Yeah, I walked away from writing this to recover from laughter.  I’m not exaggerating when I say I could barely take notes during the performance because I was laughing from the first lines delivered. This show, along with its ensemble cast, is witty and fun and delivers jokes at a breakneck pace. The physical humor is top-notch.

The ensemble’s chemistry is spot on, charming, and enthusiastic. Every single member was fantastic, from Robert Bowen Smith’s Always Sunny Dennis energy to Aron Spellane’s quick multi-character changes, to Emily Erickson and Emily Zinski’s surprise dancing or Shakespearean-like monologues. Fabiolla da Silva, Rachel Johns, Joshua Olujide, and Sam Slottow all have moments where they each get to shine, and then they also shine in the roles within the roles that they play — whether they are playing operatic ghosts, the most precocious six year olds, or up-and-coming actors just wondering if they’re going to be adequately compensated for this production.

Artistic Director Jason Tamborini, in selecting this show, describes how he was hoping to bring “levity while also leaving us with the notion that sometimes the seemingly ordinary is actually extraordinary…”

Muffed showcases exactly how theater can be produced simply, in a borrowed, unintimidating space with a team of people who know how to deliver fun work while having fun. This may seem like a simple production, but its output is extraordinary.

Running Time: 96 minutes with no intermission.

Muffed (The Meaningful Action Theatre Company Presents a Workshop Reading of “Muffed: A Recounting of Farmington, Maine’s 43rd Annual Chester Greenwood Day Devised by the Members of the Meaningful Action Theatre Company”) plays through May 18, 2025, presented by Prologue Theatre performing in its rehearsal space at 6408 Williamsburg Blvd, Arlington, VA (in the Williamsburg Shopping Center behind a CVS, which means parking is definitely available). Purchase tickets ($50, inclusive of fees) online.

The program for Muffed is online here.

Muffed 
By Zack Peercy
Directed by Jason Tamborini
Featuring: Robert Bowen Smith, Fabiolla da Silva, Emily Erickson, Rachel Johns, Joshua Olujide, Sam Slottow, Aron Spellane, Emily Zinski
Understudies: Edmée-Marie Faal and Joseph Wilson

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On its own, Hedwig and the Angry Inch is a cult-classic musical packed with unforgettable songs, driven by a devastating narrative, and bursting with ferocious sexual energy. 

Signature Theatre’s production, now playing at its smaller ARK Theatre, doesn’t just break the fourth wall; it invites its audience to a genderqueer glam-rock session. It is a solid introduction to the work for new audiences and a nostalgic reintroduction for Hedheads. Hedwig is not a straight play (pun intended). The titular character addresses the audience throughout the entire play. Think of this show as equal parts stand-up narrative, rock show, and musical. 

With music and lyrics by Stephen Trask and a book by John Cameron Mitchell, the musical follows Hedwig Robinson, a genderqueer East German singer of a fictional rock and roll band. The story draws on events and people from Mitchell’s life, namely a family babysitter who moonlighted as a sex worker at her trailer park home in Junction City, Kansas. With musical inspiration from David Bowie, John Lennon, and punk music, the show attained a cult following and critical success, running on Broadway, in the West End, and in a film version.  

Signature’s own Ethan Heard hits the right tones with the production’s narrative. The show is bolstered by incredible singing performances from both Sawyer Smith (Hedwig) and Vanessa (V) Sterling (Yitzhak). Their singing objectively outperforms the original and 2014 Broadway album recordings. So much so that with accompaniment and musical direction (DC favorite Marika Countouris), the tone of the music seemed to emphasize the glam and showcase the moments of celebration and joy. My guest commented on how “Wig in a Box” was her favorite performance of the night, which is as it should be for a new convert to the Hedwig cult. It’s a great song, go find it on Spotify. Neil Patrick Harris does a pretty good job with it.

Hey, did you catch that mid-paragraph sentence? Yes, I did say that Smith and Sterling sang it better than NPH. 

With Richie Ouellette creating a very elaborate and gorgeous punk DC dive-bar setting (think Jimmie Valentine’s Lonely Hearts Club), and very glamorific costumes and wig designs (Erik Teague and Ali Pohanka), this production has a lot of love bolstering its creation. Indeed, artistic director Matthew Gardiner talks about having selected this work to celebrate the upcoming DC World Pride events. 

And this is where I pause, because for all the love I have for this work, it’s not without controversy. Arielle Cottingham explains it better than I could, but the sense that this is a work that properly speaks to the LGBT community is a bit flawed. Signature’s production fixes some of these issues by casting genderqueer actors and giving them the space to explore the characters, and here is where I see a missed opportunity. 

Hedwig is a cult-like abuser. She strips her partner Yitzhak of their/his passport, she berates the band. She directly makes fun of the audience. She engages in sexual activity with a minor. The work addresses this evolution, somewhat, in Hedwig’s final stripped-down, emotional downfall, and the subsequent elevation of Yitzhak. But this particular production doesn’t dwell long on the moments of anguish. An example of how we transition from the songs “Angry Inch” to “Wig in a Box” gives the sense that the actors and space could have been given some time to breathe. 

And part of this is the setting; Hedwig’s dominating presence is somewhat buried by the staging, with the Angry Inch Band tucked into the back corner of the stage. Although the sound is well-performed and -adjusted for the actors’ higher voice range, the music engulfs not just Hedwig but also her presence on the stage. 

And yet, this production highlights the complexity of queer evolution. What does not work should be torn down. What helps us grow should be celebrated. Signature provides a welcoming, health-focused, and celebratory space (as you arrive at the theater, they provide audiences with earplugs, condoms, sanitary pads, and fentanyl testing strips, along with amazing decorations). For both Hedwig fans and newcomers, this is a good opportunity to don a wig for a glam-punk, hard-rock celebration.

Running Time: Approximately 95 minutes, no intermission.

Hedwig and the Angry Inch plays through June 22, 2025, in the ARK Theatre at Signature Theatre, 4200 Campbell Avenue, Arlington, VA. For tickets ($40–$93), call (703) 820-9771 or purchase online. Information about Signature’s ticket discounts is available here, and TodayTix discounts are here.

The program for Hedwig and the Angry Inch is online here.

Closed captions are available via the GalaPro app.

COVID Safety: Masks are optional in the lobby and other public areas of the building except that face masks are required inside the performance spaces on April 27 at 2 PM, May 20 at 7:30 PM, and June 12 at 8 PM. Signature’s COVID Safety Measures can be found here.

Hedwig and the Angry Inch
Text by John Cameron Mitchell
Music & Lyrics by Stephen Trask
Directed by Ethan Heard

SEE ALSO:
Signature Theatre announces cast and creatives for ‘Hedwig and the Angry Inch’ (news story, March 24, 2025)

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Creative Cauldron’s Snow White/Blancanieves is more than just a reimagining of the classic fairy tale — it’s a testament to the power of storytelling to build community. Performed primarily by the Learning Theater Ensemble, a youth company that nurtures young performers, the production embraces bilingualism not just as a theatrical device but as a way to foster connection and inclusion among the young performers and audiences.

Directed by Laura Connors Hull and Lorien Jackson, this adaptation — with music crafted by Matt Conner and Stephen Gregory Smith — blends English and Spanish with ease, making language an integral part of the storytelling. Characters switch languages fluidly or have translators clarify certain phrases (the squirrels were exceptionally adorable; how much better would our region be if its squirrels were translators?). Rather than a traditional Snow White centered on royal intrigue, the production allows the young actors to have fun with the show.

According to the director, much of the performance was developed through an improvisational process in the early weeks of rehearsal. The Learning Theater Ensemble develops its production so that all of its performers have a chance to shine. Why stick to 7 “miners” (as they’re called here) when the original Disney script almost had 16? The liberties make the production the performers’ own and allow them to bring an infectious energy, their enthusiasm radiating throughout the intimate space.

Speaking of which, the new space Creative Cauldron calls home is exceptional. The Snow White/Blancanieves is backed by a professional team, with lighting by Lorenzo Miguel doing wonderful work in creating a fantasy setting in the black box space. Costumes and props (Margie Jervis) are impressively crafted and delightfully used.

The production has all the hallmarks of a professional enterprise crafted for the Learning Theater Ensemble and suggests a great space for theater enthusiasts to find their passion. The music (Helen Hayes Award winners Conner and Gregory Smith) was wonderfully produced and performed. The leads for the Evil Queen (Lenny Mendez) and Snow White (a role shared by Isla Bitici and Savannah Wheeler) carried the cast through the tongue-in-cheek, and occasionally meta, interpretation of this work.

Creative Cauldron and the Learning Theater Ensemble have created an exceptional mission in leading this production as a bilingual enterprise. In exposing young artists to new languages, they’re building community where Spanish, in particular, is continuously growing. One quibble is that the script could have used an editing eye from a native Spanish speaker. A significant number of phrases and words were mistranslated, to the extent that the word “justo” was commented on by audience members in the performance I attended.

Overall, Creative Cauldron is creating a safe space for new youths to find a love of theater with enjoyable and exceptional productions that different audiences can embrace.

Running Time: 90 minutes with no intermission.

Snow White/Blancanieves plays through April 6, 2025, at Creative Cauldron’s new home, 127 E Broad St, Falls Church, VA. Showtimes are Thursdays, Fridays, and Saturdays at 7:30 pm and Sundays at 2:00 pm. Tickets are $20 for adults, $18 for students, and $15 for live-streaming, with family 4-packs available for $65. Purchase tickets online or call the box office at 703-436-9948.

The program for Snow White/Blancanieves is online here.

Snow White/Blancanieves
A Learning Theater Production
Music by Matt Conner
Lyrics by Stephen Gregory Smith
Directed by Lenny Mendez & Laura Connors Hull

SEE ALSO: Creative Cauldron to present bilingual ‘Snow White/Blancanieves’ (news story, March 21, 2025)

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Dear DCTA Community,

As you may know, DC Theater Arts (DCTA) is in a time of transition.

Our long-time Publisher and Editor-in-Chief, Nicole Hertvik, stepped down in December of last year. Since then, I have had the privilege and honor to take on the role of Executive Director, alongside Megan Wills as Managing Director, John Stoltenberg as Executive Editor, Hannah Estifanos as our News Editor, and Eric Colchamiro as Manager of Development and External Affairs. We have a strong team assembled to lead DCTA into the future, and our writers continue to publish work that is vitally important for the performing arts in our region.

DCTA is a local arts journalism outlet with a three-pronged mission:

1. To provide thorough media coverage of theater produced in the DC region;
2. to boost the region’s reputation as a national theater capital, and
3. to train a new generation of arts journalists.

To accomplish these goals, we are now seeking qualified candidates for our Board of Directors who can help guide our future. Please consider applying or forwarding this message to someone who might be interested.

Being a member of our Board provides you with a unique opportunity to contribute to a growing organization during a strategic and transitional period, make a positive impact on the arts journalism sector in the DMV area, and provide support and creative opportunities for arts journalists, while bolstering community and professional theaters in the region.

DC Theater Arts is a growing organization and needs the support and input of community members with your experience and skills.

The main purpose of the DC Theater Arts Board of Directors is to oversee the fiduciary, legal, and reporting obligations of the organization as it transitions to a stable nonprofit with the goal of creating a lasting footprint in the region’s art and media communities.

Board meetings will be held quarterly and remotely — usually in February, June, September, and November. Each meeting will be about one hour in duration. In addition, Board members are asked to publicly support DC Theater Arts. DCTA values the skills of its Board members, and encourages them to reach out with ideas and questions about the organization throughout their Board tenure. Board terms last for your choice of one or two years, with the option to renew for a second and third term.

Please click here to fill out the DCTA Board application

Not interested in joining the Board, but still want to help? Please click here to donate directly to DCTA. Every dollar counts in our work to elevate the arts in our region.

Thank you for taking the time to read this invitation. We hope you will consider being a part of the DC Theater Arts Board of Directors. I am available to discuss any questions you may have. You can reach me via email at julian@dctheaterarts.org.

Sincerely,
Julian Oquendo
Executive Director, DC Theater Arts

The post How You Can Help Build DCTA’s Future appeared first on DC Theater Arts.

At stages and productions across the city, I’ve heard artists, producers, and creators utter a series of heartfelt sentiments to audiences, brought on by the actions of the new administration. They can generally be summarized as “We are shocked by the events that have affected our industry” or “We stand by our mission.” These are lines spoken out of concern over the future, and aiming to protect their own organizations.

In one particular instance, a theatermaker said to an audience of patrons in a pained jest, “We are lucky it’s not us.”

These are valid sentiments, but when the Gay Men’s Chorus of Washington, DC (GMCW) —  arguably one of the most publicly affected organizations to be dismissed from the Kennedy Center — performed at the Lincoln Theatre, they presented a community of resistance and joy. They did not just commit to their artistic mission; they committed to preserving diversity, equity, and inclusion, to protecting trans peoples’ existence, and to presenting a safe community for youths and marginalized communities.

When Thea Kano (she/her), artistic director and one of the conductors for the production of Passports, exclaims, “DEI is to be elevated and celebrated” to vocal and vigorous cheers from the audience, it was clear that this was the energy that DC audiences have been hoping to hear from their artistic leaders.

The production showcased music, dance, and influences from around the world, crisply sung and impressively performed by different choral combinations of the GMCW, including the GenOut Youth Chorus and the 17th Street Dance troupe. The production moved seamlessly from full ensemble performances to reflective solos: Marcos Sastre stole the show early on with an Argentine tune. With an accompanying tango, Sastre reminisced about his grandmother, who immigrated to provide his family with a better life.

With songs and spirituals that honored Indigenous populations of North and South America, the ensemble brilliantly emulated the sounds of a rainforest and its fauna. With precise and expert technical direction (Jarrod Bennett, with lighting from Solomon HaileSelassie), light and sound elevated the choral performances by transporting audiences to their intended scenes.

The many groups within GMCW honored the passport theme of the show, how we can grow and learn from travel. Rock Creek Singers and Cherry Blossom District presented, respectively, an Indian Raga and a Malay folk song. There was a clear intention to showcase music that this audience may never have heard before, and there is such a joy to hearing something new (and wonderfully performed) for the first time.

And the theme was so apt for this organization, reminding the audience of the legal protections this unassuming document has provided citizens for so long, especially when outside of our countries’ borders. Right after Potomac Fever’s rendition of John Lennon’s “Imagine,” Keygan Miller (they/them) reminded us of the new dangers that the trans community faces, with forcing a change of their gender marker on their passport, of the objective danger that their country’s government no longer wishes to keep them safe from.

The group Seasons of Love framed the international travel with a rendition of “Khumbaya,” a spiritual honoring those seeking and praying for help.

In the end, GMCW left us with a reminder: The history of LGBTQIA+ people has always been in an ongoing struggle for equality and the right to exist, and this has clearly escalated with the new administration. The establishment of this community, and the protection of neighbors within that community, is how they intend to survive and hopefully prosper. In the end, the chorus itself was shown in a spectrum of glitter and color, honoring those who came before.

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

Passports played March 15 and 16, 2025, presented by Gay Men’s Chorus of Washington, DC performing at the Lincoln Theatre – 1215 U Street NW, Washington, DC.

The program for GMCW’s Passports, including credits and song list, is online here.

GMCW will next perform at its fundraiser Spring Affair at the Ritz-Carlton on May 17, 2025. The GMCW will also be the anchor of the arts and culture calendar during WorldPride DC 2025 at the International Choral Festival.

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The first thing you notice when arriving at Reston Community Players’ production of Four Weddings and an Elvis is that they went all out making Reston Community Center feel like Vegas.

The classic “Welcome to Fabulous Las Vegas” hangs over the stage. A cheesy-looking altar (decorated with two neon hearts) holds center stage, and three stained glass windows are mounted up stage. Oh, and two amazing faux-stained-glass images of Elvis Presley frame the sides. The set shows off RCP’s high production values and Director Kimberly Leone’s exceptional talent for stage design. Leone, along with directing, is credited with the set and prop design of a Vegas shotgun wedding venue. This multi-role approach to directing does well for her at RCP. With sound design by Elizabeth Shaher, the pervasive background noise of a far-off casino plays on repeat throughout the play, suggesting that in Vegas, the outside chaos is about to flow onstage.

This chaos that follows for the next two hours is structured in four vignettes, introducing different sets of characters, each with their own absurd reason to want to get married. The hapless owner of the wedding venue, Sandy (played by Lori Brooks, an RCP regular), anchors the scenes as a four-times-married, thrice-divorced woman who doesn’t really seem to be able to keep the soon-to-be-married people in control, or on schedule, when they’re in her business. It’s a weird choice for a career. This is a play where the least “weird” choice is deciding to get married in Vegas — hard quotations because I don’t find anything weird about a Vegas wedding, despite the play’s conceit and the director’s own experience (Leone also married in Vegas, per program notes).

Playwright Nancy Frick is a Pennsylvania-based theatermaker whose Four Weddings… was first produced in New York in 2010. The script could benefit from additional editing, to sharpen and modernize the dialogue and keep some of the vignettes shorter. The jokes, as they’re written, are generally tedious and fall flat past the introduction of the characters. The punch lines for most of the jokes are comments on a character trait (“They’re a convict!” “They’re rich and clueless!” “It’s a little person!”) with the joke repeated ad nauseam. They are TV sitcom jokes, probably imagined with a laugh track during creation.

However, this cast does exceptional work with this material. They have and add fun to the characters, giving them a bit more depth beyond caricature. In their respective vignettes, Kathy Ohlhaber as Fiona gives an energetic performance as an ex-convict falling for charmingly sweet Marvin (Tyler Cook). Fist (Anthony Pohl) serves as a hilarious foil to this couple (then throuple in my headcanon). The soap opera stars, played by Michelle Kritzler and Moses Kutz, provide amusing and exaggerated melodrama to their comedic timing. Emily Dawes as Bev is a sympathetic baseline character for the audience against the only pseudo-villain of the play, Stan (Dan Dymond). And Lou (Scott Strasbaugh of The Little Kingz) and John (Sean Je) really should have been hired to help Sandy out more with the wedding venue as soon as they arrived.

While the play is undeniably a comedy, it also touches on themes of love, forgiveness, and second, third, fourth (oh, come on, fifth??) chances. The variety of characters and situations ensures that there’s something relatable to Reston audiences. This may not be groundbreaking theater, but it doesn’t aim to be. Instead, it’s a fun, feel-good production that allows the audience to laugh and escape for a couple of hours.

Running Time: Two hours and 15 minutes, including one intermission.

Four Weddings and an Elvis plays through February 2, 2025, presented by Reston Community Players performing at Reston Community Center’s CenterStage, 2310 Colts Neck Road in Reston, VA. For tickets ($25–$30), contact the box office at 703-476-4500 x38 or purchase online. CenterStage is accessible and offers listening devices for the hearing impaired.

Four Weddings and an Elvis
By Nancy Frick
Directed by Kimberly Leone
Produced by Weston Weber

CAST
Sandy played by Lori Brooks
Bev played by Emily Dawes
Stan/Producer played by Dan Dymond
John played by Sean Je
Lou played by Scott J. Strasbaugh
Vanessa played by Michelle Kritzler
Bryce played by Moses Kutz
Marvin played by Tyler Cook
Fiona played by Kathy Ohlhaber
Fist played by Anthony Pohl

CREW
Stage Managed by Mai Le
Assistant Stage Managed by Patrick Hammes
Running Crew Chief: Weston Weber
Running Crew: Patrick Hammes, Mai Le, Elizabeth Shaher
Technical Direction by Sara Birkhead
Set Design by Kimberly Leone
Master Carpentry by Dan Widerski
Set Construction Crew: Benjamin Archie, Sara Birkhead, Lina Dajani, Nikko Elliott, Sean Jefferson, Francis Koscieszo, Anna Mintz, Thomas Pulisic, Tim Skjerseth
Scenic Paint Design by Kimberly Leone
Scenic Painting by Jacquelyn Duval & Patrick Hammes
Set Decoration Design by Kimberly Leone
Properties Design by Kimberly Leone
Properties Crew: Sohaila Hamidzada
Lighting Design by Franklin Coleman
Master Electrician: Benjamin Archie
Light Board Operation by Cecilia Hilliard
Master Electrician: Franklin Coleman
Light Board Operation by Benjamin Archie
Sound Design by Elizabeth Shaher
Sound Board Operation by Brian Altmiller
Costume Design by Lisa Leary
Hair & Makeup Design by Kyle Chua
Photography by Heather Regan
Playbill by Liz Colandene & Michael Barret Jones
House Management by Lina Dajani

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The Champions of Magic, the four-magician team now performing on tour at the Kennedy Center, frame their practice of magic around four tenets:

• Sleight of hand
• Psychic manipulation
• Special effects
• Misdirection

One element they missed, although present throughout their high-energy, flashy, and dazzling performance, is storytelling.

Magic shows are an often overlooked part of the theater world, even though in every respect, magicians are characters playing a part, and telling their own stories through the craft. The Champions in this case have taken their ten-year-old tour, now with a smaller and new cast, and emphasized how their craft can tell both their personal stories and the story of magic.

And yes it will feature a tiger, but not quite how you’d expect.

There is a Vegas vibe to this performance. Digital projections and impressive special effects (Ryan Krauza) go beyond smoke and mirrors. They build a flashy narrative that teaches its audience about the philosophy of magic. There are “death-defying” stunts and an extensive technical team, along with a supporting cast (Michelle Mazzarella, with a short silks performance, and Trent Smith as [spoilers]). The show’s magical duo, Sam Strange and Richard Young, refer to their dreams from a young age of being Vegas magicians.

As the show’s anchoring magicians, Strange and Young share the story that launched them to viral fame. From this quirky early start to their explosive closing act (bring earplugs), theirs is the story of eager magicians wanting to share their love of magic, from the new techniques to some of the classics: cutting the assistants in half, making audience members (usually the younger ones) disappear, or appearing in different parts of the theater at will.

Fernando Velasco takes on the role of the death-defying magician, sharing his story as a child of parents who immigrated to the U.S. He reflects with gratitude on how his parents’ journey is the reason he can practice magic. And then he follows it up with an impressive escape from a straitjacket while suspended in the air before getting crushed by a set of steel jaws. This is still Vegas.

But I do have to say, Liberty Larsen, a fourth-generation magician from the Larsen family who founded the Magic Castle, adds the pinning message of the show. This is a production that has been touring for ten years and previously featured different magicians. With Larsen, it’s clear there is a narrative tone shift, for the better. The pace of the performances slows, and the impact of telling their stories hammers home.

Despite the explosive moments and spectacle of most of the show, Larsen’s tempo shift resonates. This pause from the spectacle allows the audience to emotionally connect with her and, by thematic extension, the rest of the magicians. Larsen shares her story of growing up in a magician family, recalling her joy at discovering a box as a child that would magically flip a ball into a cup whenever she covered the lid.

And how many of us wouldn’t have wanted to have a magical toy box that required us to believe in magic to discover its secrets?

Wait, are you about to tell me that the magic box story is not true? What’s next, are you going to reveal how the levitation tricks are done? I’ll beat you to it — here’s a video explaining it.

Yes, you deserved that; the point of going to a magic show is that you are willing to suspend your disbelief for the story they’re telling, much as you would a theater performance. It may shock you, dear reader, but the person on that stage is an actor, not the former King of Scotland. Keep up and remember what it was like to have childlike wonder.

Larsen delivers the connection between being a magician and telling a heartfelt story. And allows the other magicians’ stories to resonate. The Champions go beyond the magic of spectacle and deliver the theater of magical storytelling.

If you have kids, and you’re willing to risk them disappearing into a magic box for a while, this is the show for you. The Champions deliver a performance that could truly help you remember what believing in magic was all about.

Running Time: One hour and 50 minutes including an intermission.

Champions of Magic plays through December 1, 2024, in the Eisenhower Theater at the Kennedy Center, 2700 F St NW, Washington, DC. Tickets ($39–$165) can be purchased at the box office, online, or by calling (202) 467-4600 or toll-free at (800) 444-1324. Box office hours are Monday-Saturday, 10 am-9 pm, and Sunday 12pm-9 pm.

The program for Champions of Magic can be viewed here.

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

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