There are two types of audience members at any production of The Rocky Horror Show — converts and virgins. Converts are devoted fans, regulars at midnight screenings of the iconic film, who call out and call back as if their lives depended on it, elevating the experience from passive theater watching to a fully immersive one. Then there are the virgins, audience members who have no idea what they’re walking into. Much like the characters Brad and Janet, they are lured in by converts looking to shock and entice — or by theater reviewers with family visiting from out of town. Which is how I found myself on Halloween night introducing my mother-in-law to a sweet transvestite and a muscle-bound creature of the night and watching sexually repressed college students lose their virginity on the Frederick Community College Jack B. Kussmaul Theater stage.

As an introduction to the cult classic, Maryland Ensemble Theatre and Theatre FCC’s co-production of the Richard O’Brien sci-fi/horror opus more than delivers. Featuring a cast and crew composed of MET ensemble members and apprentices, Frederick Community College students, and actors and artists from the DMV, the show moves at a breakneck clip, references the movie liberally, and seamlessly incorporates audience participation.

For the uninitiated, The Rocky Horror Show follows newly engaged couple Brad and Janet as they get caught in a storm with a flat tire and are forced to seek refuge at a gothic castle in the middle of nowhere. Once inside, they find themselves unwilling guests of a mad scientist in a tight corset, Dr. Frank-N-Furter, and his eccentric staff and guests. 

(“Are they vampires?” my mother-in-law whispered. Um, no. Just hang in there.)

As Brad and Janet soon find out, they have arrived on a special night. Dr. Frank-N-Furter is about to unveil his latest creation — Rocky, a muscle man created to satisfy the doctor’s every desire. And since the young couple seems so tightly wound, why not extend Rocky’s particular brand of hospitality to them as well? There’s also a murder. And aliens. And a floor show. 

The highlight of MET and FCC’s production is the cast. Eric Jones shines as Dr. Frank-N-Furter, towering over the rest of the actors in platform heels, teasing the audience with off-the-cuff quips, and swinging from seductive to cruel. Jeremy Myers and Mallorie Stern bring to life naïve couple Brad and Janet. Myer’s Brad is deeply closeted and almost cartoonish, with impeccable comedic timing, while Stern’s Janet goes from sweet innocent housewife-in-training to confident sultry sexpot belting out “Toucha Toucha Touch Me.” Willow Kyteler and Melanie Kurstin play Riff Raff and Magenta, Dr. Frank-N-Furter’s devoted staff, with a campy, magnetic flair that is both hilarious and delightful to watch. Rounding out the main cast are Karli Cole as the tap-dancing, manic Columbia, Christian Wilson as a very traumatized and defiant Rocky, Matt Harris channeling the late Meat Loaf as Eddie/Dr. Scott, and Ron Terbush as the Narrator, who inexplicably transforms from sober academic to leather daddy because why not?

Then there’s the Ensemble (Lucy Campbell, Amari Chambers, Cade MacFee, Katie Martin, Finn Martinez, Alex Pietanza, Mars Renn, and Khadeeja Sesay), the individual members of which are known as Phantoms, who serve as Greek chorus, party guests, stagehands, and even set pieces. When they aren’t actively performing in a scene, they lurk along the periphery of the stage, throwing out callbacks or offering commentary almost as an extension of the audience. They also dominate the dance numbers choreographed by Chambers and Melrose Pyne, weaving through the audience during the “Time Warp” or surrounding Dr. Frank-N-Furter with fluttering feather fans as part of “Rose Tint My World.”

Director Tad Janes was also responsible for scenic and sound design. The set dressing was minimal; the Phantoms moved around cylindrical platforms and scaffolding that served as the various set pieces, while different lighting effects (lighting designer Will Heyser-Paone) projected onto the white backdrop. The stage felt a bit too large for the production’s scale, even as the cast did their best to make the most of it. Costume design by Madeleine Davis was on point, a mix of sexy and campy, adjusting to each cast member’s particular body type and referencing the movie while also being unique.

Audience members were also decked out in costumes (it was Halloween, yes, but this is also a thing at any Rocky event) and didn’t miss a beat as they shouted out callbacks. The production even provided props and projected images onto the curtains above the stage when needed. Bless Dr. Frank-N-Furter for working with the novices in the audience and offering “sloppy seconds” when half of us forgot we needed to get our latex gloves ready for snapping.

Trying to explain what The Rocky Horror Show is about, or why people keep shouting at the cast, to someone who has never experienced it makes you realize just how bizarre this show is, but also why it works so well. It’s a show that transcends time, space, and periodic think pieces on why it’s problematic. It’s a show that ultimately builds community and is as much about liberation as it is about queering up B-movie tropes. Like Dr. Frank-N-Furter’s castle, it welcomes and corrupts all who dare to visit.

My mother-in-law’s review? “I have no idea what just happened, but I loved it!”

Running Time is 90 minutes with a 10-minute intermission.

The Rocky Horror Show, a co-production by Maryland Ensemble Theatre and Theatre FCC, plays through November 8, 2025 (8 pm on Thursday, Friday, and Saturday), at the Frederick Community College Jack B. Kussmaul Theater, Visual & Performing Arts Center, 7932 Opossumtown Pike, Frederick, MD. Purchase tickets ($14–$30) online.

The program is online here.

The Rocky Horror Show
Music, lyrics & book by Richard O’Brien
Directed by Tad Janes

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The trials and tribulations of love are a universal truth — almost everyone has a story to tell of love gone awry or a messy first date. These universal truths are what William Shakespeare takes to new heights in this romantic comedy, and with an updated setting of a 1980s high school courtesy of director Travis Xavier, Twelfth Night is a hilarious and heartwarming tale of love, mistaken identity, and what it takes to be true to yourself.

Often regarded as one of Shakespeare’s greatest comedies, Twelfth Night follows twin brother and sister Sebastian and Viola; in this interpretation, they end up in Illyria High School, where Viola must disguise herself as a mime to fit in without being noticed while Sebastian looks for help with their broken motorcycle. What follows is hilarious hijinks of mistaken identity, chaotic love triangles, practical jokes that may go a bit too far, and much more lovestruck teenage chaos. 

A common concern of modern audiences with Shakespeare is the language, but this production delivered dialogue at an upbeat pace that matched the high energy of the cast and of the story. Lines were punchy, and delivery was crisp, adding to the production’s modern feel. The cast proved with hilarity and spunk that they understood the text as they worked to convey it in the modern setting. Highlights from the cast include Ally Fenton, who showed great range and emotion as Viola/Cesario; Alec Schneller, who committed fully to his role as the hilarious and gullible Malvolio; Natalia Fernandez-Davila as Olivia, whose tenacity and determination dominated scenes; and Addie Witmer as Feste, whose commentary and singing shed light on the true themes of this show — all while in a high school mascot costume! Overall, the cast dynamics were fun, funny, upbeat, and dramatic, much like any high school.

A significant change from the original Shakespeare text to this adaptation is the more modern setting. The shift to a 1980s high school is immediately recognizable in the set, done by scenic designer Olivia Goncalves, which features trash-filled bleacher seats, a staple of many high schools. The costumes designed by Emily Vallozzi continue this modern theming with bright colors and abrasive patterns, as well as cheerleading outfits and varsity jackets that tie into the theme of power dynamics. All the design elements worked together to transport the audience to the 1980s.

This play’s themes center around love, gender, and belonging, and as is noted by dramaturg Gale Linderman, “gender and sexuality are extremely fluid in ‘Twelfth Night.’” Since queer depictions are not often written into classical theatre, “the queer community instead finds representation themselves” in characters that can be viewed through a queer lens, Linderman writes. The LGBTQ+ community faced many challenges in the ’80s as well, most notably the AIDS epidemic and the increased homophobia that came with it. The undercurrents of gender ambiguity and homosexuality featured in this play, mixed with this setting, create a compelling perspective for viewing the play with queerness in mind, and this cast and production team did an excellent job honoring the queer community through classical theater.

Twelfth Night is a spunky, modern, and funny adaptation of one of Shakespeare’s most celebrated comedies that stays true to the core of the original while leaving room for modernity and new, challenging questions and themes to be explored. 

Running Time: 90 minutes, no intermission. 

Shakespeare’s Twelfth Night plays through November 2, 2025, presented by the Corcoran School of the Arts & Design at George Washington University performing in the Dorothy Betts Marvin Theatre, University Student Center – 800 21st Street NW, Washington, DC. For tickets ($20 adult, $10 seniors/students, plus fee), purchase them at the door or online.

The program is online here.

Shakespeare’s Twelfth Night
Adapted and directed by Travis Xavier

The post ‘Twelfth Night’ turns up in a 1980s high school at George Washington University appeared first on DC Theater Arts.

“The past is never as distant as we imagine.”

“Resistance is not only about weapons or battlefields. It is about imagination — the belief that a different world is possible and worth risking everything to create.”

These words from dramaturg Lindsey R. Barr’s program notes for the American University production of Disarming Girls frame the subject matter that will be explored during the play’s 90 minutes.

How do we resist efforts to take over and manipulate our lives and welfare? Can knowing what was done in the past inform and inspire our present efforts around this issue?

There are good reasons that students and faculty at American University have been excited about this production for weeks.

Of course, having Aaron Posner — a DC theater treasure — as a member of your creative and production team is grounds enough for excitement. But in addition, this production also acknowledges the support of Imagination Stage, Olney Theatre, and The George Washington University. So, it looks like the success of this production is the result of collaborations across skills, disciplines, and communities. The ideas of “community” and “empathy” these days have been the target of a resurrection of a Margaret Thatcher-type disdain. We are currently living under a government that is gleefully terrorizing its people, taking note of all of the intersectionality of the nation’s people — shared experiences that could be used as ways to unite them — and choosing instead to manipulate those commonalities as ways to divide them. I have heard many people on many podcasts ask, “What can we do?” In the context of the current times, acts of collaboration such as the one explored in the process that gave us this performance can be seen as examples of resistance.

Disarming Girls tells us the true story about a group of young women who, exploiting the roles that girls and women have been assigned in Western culture, figured out something they could do. Within those pre-determined roles, these girls figured out ways to collaborate in their resistance against the Nazis even though as a citizenry and as women they seemed powerless. This need to find a useful and effective method of resistance must have seemed an especially relevant plot point as Washington, DC, anticipated people pouring into the city for a second No Kings march.

As the audience entered the theater, we saw a painter’s dropcloth casually draped against the upstage wall. But instead of the splotches of paint that we usually expect to see on a dropcloth, there is a painting of the Canals of Haarlem, the city where the play takes place. So, it was as if we were looking through the proscenium out into the city. The artificiality of the painting’s presence amplified any leaning toward nostalgia the audience might have had. In a way, the audience is enticed to co-create the reality of this space.

Hannie is the central character in this story. She has stalked and eventually approached Franz, the leader of the resistance in the Netherlands. She forces Franz to consider her as a participant. At first, there is skepticism. But it turns out that she’s a crack shot and speaks several languages, including German. Eventually, the resistance group stumbles upon a strategy of disarming German soldiers that proves to be extremely effective, and three of the girls (Hannie, Truus, and Freddie) are enlisted to carry it out regularly. It is a dangerous strategy that makes the girls highly vulnerable, but because it is so effective, it’s a strategy that they pursue almost until the end of the war.

The script by Sarah Caroline Billings and Kallen Prosterman is stylized, utilizing a chorus to play various incidental characters and to portray crowds and to concretize or embody feelings.

The scenes move from place to place and time to time rapidly. This creates a puzzle for how to move the scenes while at the same time maintaining some kind of believability.

But it is energizing to watch as this company solves this puzzle playfully and resourcefully. Director Jenna Place has drilled these performers. They move from scene to scene and from moment to moment with a military-like precision, focus, suppleness, and speed. The bodies of the actors — aided greatly by the costuming — hold the intent and feeling of the characters that the playwrights have evoked.

Sydney Moore’s costuming is almost photographic in its evocation of the era. The costuming is supported every step of the way by makeup and hair styling, and further amplified by Jesse Belsky’s sepia-tinged lighting touches. All of it encourages a willing suspension of belief on the part of the audience.

Scenic designer Samina Vieth uses rolling scaffolding, boxes, and platforms that morph the performing space into various locations and objects as needed on a moment’s notice. I especially enjoyed the illusion of automobiles traversing under and around each other. Deaths and killings happen in this play. They were represented by slips of cloth dropping, floating away from or being snatched out go a previously living character’s hand. There is no re-traumatizing or glamorizing of violence or death in this story of human rapaciousness. Instead, emphasis is placed in the storytelling on noticing the suffering, loneliness, cruelty, and courage of the war participants and victims.

We won that war, you know.

Running time is approximately 90 minutes without intermission.

Disarming Girls plays to 26, 2025, presented by the American University Department of Performing Arts, performing at the Harold and Sylvia Greenberg Theatre – 4200 Wisconsin Avenue NW, Washington, DC. For information about future events, call 202-885-ARTS (885-2787) or visit the website.

Tickets are free for AU students; $10 for children (under 18), seniors (over 55), AU alumni, staff, and faculty; and $15 for the general public. 

The program for Disarming Girls is online here.

Disarming Girls
By Sarah Caroline Billings and Kallen Prosterman 
Directed by Jenna Place

CAST
Lucille Rieke: Truus; Maddy Cooper: Hannie; Mira Gross-Keck: Freddie; Shelly Wiese: Franz

ENSEMBLE
Laurel Brown, Iliana Cardoso, Gabriela Cohen, Bitaniya Menkirs, Lan Mourad, Ainsley Noven, Madelyn Ruyle, Sophie Laurence

CREATIVE AND PRODUCTION TEAM
Director: Jenna Place
Assistant Directors: Morgan Kullen and Olivia Morrison
Stage Manager: Quinn Laubach
Assistant Stage Manager: Siena Johnson
Fight Choreographer: Robb Hunter
Intimacy Director: Sierra Young
Dramaturg: Lindsey R. Barr
Scenic Designer: Samina Vieth
Lighting Designer: Jesse Belsky
Sound Designer: Jordan Friend
Properties Design: Mason Dennis
Costume Design: Sydney Moore
Stage Manager Advisor: Martita Slaydon-Robinson
Theatre/Musical Theatre Artistic Director: Aaron Posner
Theatre/Musical Theatre Program Director: Jason Arnold

GREENBERG THEATRE STAFF
Technical Operations Manager: John Stahrr
Lighting & Audio Coordinator: Kassie Bender
Costume Shop Manager: Sydney Moore

STUDENT PRODUCTION TEAM
Production Assistants: Jackson Smith and Emmett McNulty
Light Board Operators: Aaron Miller, Alisté Bills and Emmett McNulty
Wardrobe Head: Finn Fairfield
Wardrobe Crew: Emme Fischer, Ivy Collins, Allison Evans, and Justine Lee
Fight Captain: Shelly Wiese
Sound Board Operators: Twain Steven and Alisté Bills

The post In ‘Disarming Girls’ at American University, an act of exemplary resistance appeared first on DC Theater Arts.

Under the title Young Griots: New Works for the Stage, the Chadwick A. Boseman College of Fine Arts Department of Theatre Arts at Howard University showcased works from four students in its Playwrights minor program. The production, directed by Professor Denise J. Hart, was performed October 9 through 11, 2025.

All times can be said to be difficult in some ways, but in the face of our current difficult times, Young Griots: New Works for the Stage offered visions of a way forward. As I watched and absorbed the efforts of these young playwrights at the beginning of their journeys, I felt a sense of hope that continued to grow as each successive play unfolded.

Each play in the showcase explored a different topic. In 5 Minutes by Essence Jackson (senior, TV and Film major), a young woman finds that she cannot — and does not want to — continue her alcohol binge-inducing relationship with a young man from whom she receives neither support nor affirmation. In Echo Chamber by Kevoy Somerville (junior, Acting major), a young wife and mother feels unseen by her video-game-playing husband — even in their own home. In Incline, by Joycelyn Sophia Jackson (senior, TV and Film major), a sister and her older guardian/brother retrace the obstacles their deceased mother placed in their relationship to each other. In Two Sides to Black by Efeoghene Rhonor (senior Musical Theatre major), the male head-of-household announces, “I don’t fuck with Africans,” just before the couple’s African immigrant friends arrive for game night. The play is a topical drama in the vein of Guess Who’s Coming to Dinner, but here, Black American and African friends confront the divisions and misunderstandings that continue to separate them.

The entire cast, Ramere Kelly, Mahlet Gebreyesus, Tyler T Lang, Skylar Jade, Kameron Outland, Niani Braxton, and Cody Holmes, was urgent: embedded and focused on the relationships in the plays rather than the audience. Despite the fact that they were surrounded by audience members on all sides, psychologically, this was very fourth-wall-contained. In other words, the performers were fully immersed in the worlds of the stories they were telling. It was a no-frills (essential) production that moved cleanly and decisively from moment to moment and scene to scene. All except one actor played double roles.

“Give us more to see,” implores one of the characters in Stephen Sondheim’s Sunday in the Park with George. The playwrights showcased in Young Griots did just that. And that’s an encouraging sign for the future of American storytelling.’

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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

The post The Theatre Lab’s ‘Hadestown’ pulses with professionalism appeared first on DC Theater Arts.

The lead lady captures our hearts to the tune of banjo and fiddle music in the opening of Bright Star on the campus of The Catholic University of America. The intimate setting of the small Callan Theatre, paired with live bluegrass music, makes seeing this show feel like a homecoming, rich with all the joys and sorrows of life.

Written by Steve Martin and Edie Brickell and directed by Jay D. Brock, the bluegrass musical takes place in western North Carolina in 1945 and ’46 and in part in flashbacks to 1923. Following the life of literary magazine editor Alice Murphy (Emma Markey), the show tells the story of young love, loss, and reconciliation as her encounter with a young soldier just home from World War II prompts her to reflect on her old life and the child she once lost. Standout vocal performances and well-timed humor bring an emotional depth and a light-hearted feel to this story of the enduring love of family.

Markey outshines everyone as Alice Murphy. Her vocal performance alone offers a nuance to her character that many productions of Bright Star lack. But Murphy is also a triple threat who understands how to develop a character. As carefree teenage Alice, she flits around the stage and tosses her curls in “Whoa, Mama” and “Firmer Hand/Do Right.” The audience then watches her mature as she walks through her pregnancy in the sentimental “I Can’t Wait” and the loss of her child in the violent “Please, Don’t Take Him.”

As the older Alice, Markey retains her wit and candor but speaks and carries herself differently — with the gentle gravity of one who has suffered without bitterness.

Ryan Alexander supports Markey as well as her lover Jimmy Ray, but he lacks some of her emotional depth. In what should be one of the biggest shocks of the play for his character, Anderson hardly pauses at the news that Alice is pregnant. Still, the range in his vocal performances, from the light-hearted “Whoa, Mama” to the heartbreaking “I Had a Vision,” shows why the college freshman has landed two lead roles this season.

As the war hero and earnest aspiring writer, Billy Chase Nester brings a refreshing subtlety and innocence to his role. Other stand-out performances include Madonnina Gullo and Joey Depto as Lucy and Daryl, Alice’s editor assistants, and Cayden Wallace as Jimmy Ray’s father the Mayor. Gullo shines in “Another Round,” and she and Depto chip in some much-needed comedic relief throughout the show. At the other end of the emotional spectrum, Wallace would make anyone’s blood boil for his heartlessness in “A Man’s Gotta Do.”

The chorus of townspeople, choreographed by Sarah Frances Hope Williams, take on characters and personalities of their own as the story develops. But at times, the chorus’ movements distract from the action of the play. The purpose of three of the women appearing as “spirits” during the most emotionally heightened moments seems unclear as they gather around the pregnant Alice with sympathetic looks.

Set design by Samina Vieth and costume design by Cody Von Ruden contribute to the show’s world-building, inviting the audience to step back in time to small-town North Carolina at the beginning of the 20th century. But it’s the live bluegrass music, directed by Bryan Lilley, that really brings the play to life. Two musicians (Audrey Clement and Mulunesh Creaghan) help set the atmosphere for the show before it even begins, playing on an elevated porch in full view of the audience throughout.

All elements of music, dance, and acting combine to make this production of Bright Star genuine and heartfelt. For all of its nostalgic air, the production invites the audience to experience — together with Alice and Jimmy Ray — the real, familiar pain and joy of loving broken people in a broken world.

Running Time: Two hours and 30 minutes with a 10-minute intermission.

Bright Star plays through Sunday, April 27, 2025, presented by the Benjamin T. Rome School of Music, Drama, and Art, performing at the Callan Theatre, 3801 Harewood Rd. NE, Washington, DC, on the campus of the Catholic University of America. Tickets (students, $10; senior/military, or faculty/staff, $20; general adult, $25) are available online.

COVID Safety: Masks are optional.

Bright Star
Music, Book & Story by Steve Martin
Music, Lyrics & Story by Edie Brickell
Directed by Jay D. Brock
Music Direction: Bryan Lilley

CREATIVE TEAM
Scenic Designer (Samina Vieth)
Costume Designer (Cody Von Ruden)
Dialect Coach (Tonya Beckman)
Stage Manager (Scarlett Spano)
Lighting Designer (Catherine Girardi)
Sound Engineer (Michelle Janota)
Choreographer (Sarah Frances Hope Williams)
Assistant Choreographer (Angelo Carucci)
Assistant Stage Manager (Gianna Angela)
Assistant Director (Isabel Pierce)

CAST
Emma Markey (Alice)
Chase Nester (Billy)
Allison Howlett (Margo)
Ryan Alexander (Jimmy Ray)
Madonnina Gullo (Lucy)
Joey Depto (Daryl)
Rachael Brandon (Mama Murphy)
Robert Garza (Daddy Murphy)
Cayden Wallace (Mayor)
Jackson Biggs (Daddy Cain)
Mary Kelly (Florence, Ensemble, Spirit, Dance Captain)
Emily Scholl (Ensemble, Spirit, Well Dressed Woman)
Katie Vitale (Edna, Ensemble, Spirit)
Luke Plunkett (Max, Doctor, Ensemble, Stationmaster)
Holly Bruchalski (Clerk, Ensemble)
Thomas McQuillan (Stanford, Ensemble)
Nora Junge (Alice u/s)
Bryan Kotlar (Male Ensemble Swing)
Claire Sligh (Female Ensemble Swing)

CREW
Stage Manager (Scarlett Spano)
Assistant Stage Manager (Gianna Angela)
Light Board Operator (Rhett Ricardo)
Sound Board Operator (Anthony Graf)
Deck Crew (Aleyna Francis, Keira Bauer)
Wardrobe Crew (Jayden Parsons, Erin Fitzgerald, Angelo Carucci)
Follow Spot Operator (Grace Stephens, Alexa Palena)

BAND
Fiddle (Audrey Clement, Mulunesh Creaghan)
Guitar/Mandolin (Aaron Weberg)
Guitar/Banjo (Jonathan Hawkins)
Keys (Bryan Lilley, Mary Grace Reed)
Percussion (Jim Hofmann)
Bass (Guillermo Cortes)

Special thanks to Sophia Jeffress, Jacob Werner, Jacob Harris, Angelo Carucci, Emily Barrett, Jason Aufdem-Brinke, Onyx Cummings, and Andy Walling.

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“Make Meat Great Again.” That shout comes from one of the disgruntled employees at Meat Expectations. For some time now, the people who work at this cleverly named meat processing plant have seen the principles of their beloved workplace undermined and their own skill, knowledge, and their very lives not valued. The employees’ disappointment is deeper because the new CEO of the company is a fourth-generation descendant of the original founder, someone they’ve watched grow up and who they sent off to college with high hopes and great — or, as punningly put in the title — Meat Expectations.

Embodying the show’s ironic sense of humor and outrage, this shout is delivered in American Sign Language (ASL) because this entire musical production — now in Gallaudet University’s Eastman Black Box Studio Theatre through April 27 — is performed in ASL. The show is designed to be accessible to Deaf and hearing audiences alike through the use of open captions and tactile music. New York Deaf Theatre commissioned the piece from a team of respected Deaf Theater creatives that included Lewis Merkin, JW Guido, Seth Gore, and Monique “MoMo” Holt and Deaf composer Jay Alan Zimmerman. Meat Expectations is a landmark piece of theater production. Instead of translating an English script into ASL, this piece of theater was developed from its inception in American Sign Language.

What is a musical without singing? Lyrics, like the rest of the text, are delivered in ASL. Composer Zimmerman’s beats and melodies are catchy, and you are aware that you are feeling those beats with the rest of the audience. We not only hear but also feel the vibration of tempo and texture in the music in our bodies. This production makes use of that tactile information to enable us to feel the music’s emotion and intention. In this production, the music is driving, stimulating, and convincing. Toward the end of the show, there is even audience participation when one of the characters teaches us a song in ASL and invites us to “sing” along.

Meat Expectations is a morality play, a fable of inheritance, survival, community, investment of people in themselves and the betrayal of that trust. The show features the type of buffoonery, slapstick, song, and dance that you would experience in an English pantomime performance. Consistent with being a morality play, the characters do not have personal names but rather are named by their role: CEO, CFO, Foreman, Butcher, Loudmouth, etc. The costumes and makeup reflect this fantastical and archetypal aspect of the story. Everyone has exaggerated, cartoonish makeup and hair. The meat cleavers are cut-outs. The CFO, an obviously slender person, is dressed in a fat suit. The entire cast takes to their roles with infectious energy and enjoyment. But special note must be made of Jayce Yeh, whose ecstatic, off-balance, and whirling-dervish dancing as the egotistical, self-serving CFO frequently threatened to take flight and filled the audience with amazement and delight.

Ethan Sinott’s industrial, metallic gray set, with vertical vinyl panels that keep the cold of the refrigeration confined without impeding movement through the spaces, evokes the no-nonsense desolation of a workspace devoted to making a profit from the blood of animals. (No judgment here. I mean, at Meat Expectations, the cows do get a massage beforehand, and they leave this veil of tears in a state of contentment.) But there is nothing frivolous about this space of panels and metal with no color or design to distract from the chopping and packaging of cow’s flesh. As the CFO is allowed to implement increasingly inhumane innovations, the music rumbles and grinds to announce the entry of the biggest, fastest flesh-chewing machine ever. At one point, the machine eats a portion of the arm of one of the dedicated and exhausted workers.

On opening night, sometimes the open captioning ran too fast, and sometimes the transliteration from ASL to English was challenging, so there was some frustration. The house manager seemed to anticipate this challenge and, at the top of the show, encouraged those of us in the hearing audience who did not use ASL to trust the visual storytelling and not lean so hard into having to understand everything concretely in words. That trust was justified.

Running Time: Approximately two hours plus a 15-minute intermission.

Meat Expectations plays April 24 to 26, 2025, at 8 pm; and April 26 and 27 at 2 pm, presented by Gallaudet University and New York Deaf Theatre, performing in the Eastman Blackbox Studio Theatre (adjacent to the Elstad Auditorium) on the campus of Gallaudet University, 800 Florida Ave. NE, Washington, DC. Tickets (ages 8–12, free; high school and college students, $10; Gallaudet students, free with discount code; adults, $20) are available online, by email (theatre.tickets@gallaudet.edu), or by calling 202-651-5501.

Open captions and tactile music make the show fully accessible to both Deaf and hearing audiences.

The program for Meat Expectations is online here.

Meat Expectations
Created by Lewis Merkin, JW Guido, Seth Gore, and MoMo Holt
Viscript Concept Conceived by Lewis Merkin and Annie Wiegand
Composer: Jay Alan Zimmerman
Assistant Composer: Mark Weissglass
Lewis Merkin passed in 2022. This production is in honor of his legacy.

CAST
CEO: Alyssa Glenn
CFO: Jayce Yeh
Foreman: Tyler Dees
Butcher: Nick Hohrman
Chick-Chick: Danyeal Davis
Lighthouse: Henry Baldwin
Loudmouth: Jordana Silva
Sweet-Sweet: Sydney Padgett
Ensemble: Maia Buzianis, Ray Poukish, Elghin Hebrado, Taylor Victor, Seth Wagner, Maizy Wilcox, Dazlyn Lopez

Co-Director, Choreographer & Music Director: Jules Dameron
Co-Director, Director of Artistic Sign Language (DASL): MoMo Holt
Assistant DASL: Krystal Sanders
Assistant Choreographer: Ashley Pigliavento
Pianist/Bandleader: Owen Posnett
Drummer/Percussionist: Dustin Garza
Lighting Designer/Producer: Annie Wiegand
Associate Lighting Designer/Lighting Supervisor: Norah Matthews
Scenic Designer: Ethan Sinnott
Costume Designer: Nikolya Sereda
Sound Designer: Justin Schmitz
Assistant Sound Designer & A1: Kiefer Cure
Projections/Captions Designer: Andres Poch
Stage Manager: Kathryn Lloyd
Assistant Stage Manager: Candace Broadnax
Assistant Stage Manager: Andrew Crawford
Stage Management Mentor: Sara Gehl
Backstage crew: Jason Williams
Prop Designer: Keith Saine, August Bird
Assistant Prop Designer: Nat Fordyce
Backstage, Board Ops, Wardrobe, Marketing, and House Management: Alma Robinson, Andrew Suarez, Jason Williams, Courtney Bronson, Kyra Dinkins, Taylor Victor, Thu Nguyen, TiKa Wallace, Steven Guerrier, and Carly Ortega

SEE ALSO:
‘Meat Expectations,’ new musical at Gallaudet University, created entirely in American Sign Language (feature by Courtney Bronson, April 14, 2025)

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By Courtney Bronson

Meat Expectations is not your typical musical. Developed entirely in American Sign Language from the ground up, the story wasn’t translated — it was born in ASL. This well-done, boundary-pushing production runs for ten performances, April 17 to 27, at Gallaudet University’s Eastman Black Box Studio Theatre. The show is fully accessible to both Deaf and hearing audiences with open captions and tactile music. A talkback will be hosted on April 17 and 18 with the original creators.

Set in a meat factory run by a Deaf family for four generations, the story kicks off when the family patriarch passes away. The new CEO — eager to modernize — tries to overhaul the factory with modern technology. It doesn’t go as planned, and there is beef.

The piece has been years in the making. Commissioned by New York Deaf Theatre (NYDT), development began in 2017 and is still evolving. This Gallaudet run marks the show’s final phase before its official New York City premiere with NYDT.

The team that developed this play is packed with well-known Deaf theater creatives: Lewis Merkin, JW Guido, Seth Gore, and Monique “MoMo” Holt are the core collaborators, with music by Deaf composer Jay Alan Zimmerman. Annie Wiegand has been a major part of the project since the start, with Emily Hart as stage manager and Mark Weissglass as assistant composer. Past contributors include James Caverly and Christina Cogswell.

Lewis Merkin, the head writer, passed away in March 2022, at age 66. A pioneer in Deaf theater, Merkin left behind a bold vision for how stories could be told. Lighting Designer and Producer Annie Wiegand recalled a conversation that sparked an idea:

“My dearly departed friend Lewis and I were bemoaning one day many years ago the fact that translating English to ASL is such a tedious process when working on new plays. And then we wondered what would happen if we could create a script in ASL first, and what that would look like.”

That question led to the ASL Script Workshop in 2016–2017, and from that sprang two ambitious projects: the musical Meat Expectations and Viscript — a software concept combining video, visuals, and script.

For this Gallaudet production, student actors are working from the original ASL script in video form, not a traditional printed one. Only the crew and creative team use translated English stage directions. This flips the usual process — the story was created in ASL from the start.

It’s a game-changer. In a field where Deaf artists often retrofit English scripts into ASL, Meat Expectations shows what is possible when ASL leads the process.

Co-directors of the Gallaudet production, MoMo Holt and Jules Dameron (Gallaudet alum ’03), lead the charge. Holt, a longtime NYDT artist and Gallaudet professor, and Dameron, NYDT’s artistic director and a veteran film/TV director, are guiding a full student cast — both current and alumni — through this landmark production.

Dameron shared that the biggest challenge was having no roadmap — everything had to be built from scratch. “But the surprise has been how natural it felt once we trusted ourselves to break rules. Watching Deaf performers completely own these larger-than-life characters, invent new ways of storytelling, and still hit emotional beats that land just as hard as a traditional musical? That’s been wildly rewarding. Also…the comedy. This cast is funny. Like, absurd, ridiculous, fearless funny.

Holt added, “Meat Expectations is about finding your place — whether on the factory floor or in society — and discovering the courage to contribute something meaningful. It’s about learning, growing, questioning, and belonging. And above all? It’s about expectations — meat-related and otherwise — and what happens when we exceed them.

The cast shared what this work means to them — and what they hope it gives back to the community:

What do you hope Deaf audiences will receive from this piece?

Many hope Deaf audiences feel seen — in the characters, the culture, and the care that went into every detail.

One actor called the show “Champ, very visual, and cool!” (Champ is a colloquial ASL expression used to describe someone or something as the very best — the top, the best of the best. It conveys excellence, mastery, or high achievement.)

“Meat Expectations is an original Deaf ASL-oriented musical where each step of the creative process has been guided by Deaf artists. The musical is unique in that it prioritizes ASL and authentic Deaf story-making throughout its development.”

“I hope audiences feel truly alive and deeply connected with every part of this play!”

“I hope that the Deaf audience receives motivation and inspiration from this production… to go out in the real world and make bold choices without anything holding them back.”

What is the importance of this piece for Deaf theatermakers?

It’s a milestone in Deaf-led storytelling — not just in content but in process.

“This is the first Deaf-created musical, and we have all worked so hard together on it.”
Another said it “shows what’s possible when accessibility and creativity come together.”

This production also tested a new approach to ASL-first scripting: a team of Deaf creatives turned their vision into a video playlist — a model for future visual scripts.

Anything else hearing folks should know?

“Everyone must adapt to us. Not the other way around.”

Meat Expectations invites all audiences into a world that’s bold, visual, funny — and fully Deaf-made.

Running Time: Two hours, plus a 10-minute intermission.

Meat Expectations plays April 17 to 27, 2027, in the Gilbert C. Eastman Studio Theatre at Gallaudet University, 800 Florida Ave NE, Washington, DC. Tickets (ages 8–12, free; high school and college students, $10; Gallaudet students, free with discount code; adults, $20) are available online, by email (theatre.tickets@gallaudet.edu), or by calling 202-651-5501.

Access: Open captions and tactile music make the show fully accessible to both Deaf and hearing audiences.
Content Note: Set in a meat-packing factory; references to animal processing (no graphic content).
Effects: Uses haze, fog, and bright lights.

Courtney Bronson, hailing from California, is a senior at Gallaudet University double majoring in English and Theatre Arts. An aspiring playwright with a deep love for storytelling, she has written two plays — Opposite Day and Ghosted — both of which have received staged readings at Gallaudet. Courtney has also performed in
several university productions, including Rosencrantz and Guildenstern Are Dead/f, directed by Ethan Sinnott, and Autocorrect Thinks I’m Dead, directed by Monique “MoMo” Holt. Outside of the theater, she enjoys line dancing and watching The Rookie on Hulu.

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AACC Theater’s production of Museum is a rollicking fun time. Tina Howe’s 1976 play features the quirky visitors to an exhibit of three artists on the last day of display, with a guard trying to maintain order. Directed by Atticus Cooper Boidy, it is full of laughs.

James Reed Estepp plays the Guard with comic exasperation. In between keeping visitors from touching the art, especially the clothespins in one section, escorting several guests out, and trying to corral one wildly unpredictable guest, he collapses onto his stool, hoping the day will pass quickly. Cameron Ashley plays Michael with a quiet curiosity, photographing both the arts and fellow visitors’ hijinks. Zaura Denton plays Fred with eagerness, rushing back and forth to get permission to photograph the art, and reading aloud from the informational plaques.

All other actors play multiple roles. Olivia Comeau brings an enthusiasm to Liz, explaining to her friends that one of the artists was raised with deaf-mute parents and wondering what it meant when, as a baby, he would cry, and they could not hear him. Meridian Toalepai brings an eccentricity to Carol, who judges museums by the views from their windows and dreams of creating a museum with only windows, all different types. Nyla Waskiewicz brings joy to Blakey, so enthralled by one exhibit that she nearly lies down on it.

Ray Jung plays Francoise with complete seriousness, engaging in a conversation in French with a puppet bat, who then angrily confronts the guard on a correction in the catalog. Jana Naylor brings an enchantment to Annette, speaking to one guest about the artists before all the others follow her around the exhibits, eagerly absorbing her knowledge. Cameron Walker has perfect timing as a man wincing from a too-loud self-guided tour cassette. As Giorgio, he is excited by one of the pieces, almost sniffing it, before expounding on its meaning.

Dylan Klebahn brings a pretentiousness to Will, critiquing all aspects of the exhibit with wordplay. As one of the artists, he makes changes to the exhibit in silence, while the other guests watch him in awe. Robin Whewell plays Bob with great thought, growing increasingly concerned about the lack of a future for museums and art, shaking Will’s shoulders and shouting, “Something must be done!” They play Bill with boredom at first, putting away a catalog before excitedly hearing about one of the artist’s strange habits.

Aryana Chamberlain and Amanda L. Matousek play off each other perfectly as the two Barbaras, one worrying about the decline in natural fabrics as the other describes a rash all over her body. Angela Germanos plays the second guard with boredom, having only a few visitors for her exhibit elsewhere in the building. Dean Cottrill plays the second guard with excitement, enthusiastically looking at the differences between American museum security and European. Kestrel Watson plays Zoe with quiet horror at one guest’s outrageous antics, before pulling off hijinks herself. Eliza Geib brings a comic intensity to Tink, dramatically telling a story about one of the artists after enthusiastically rubbing a sculpture all over her face. She blows on the artwork, looking for the secret that will unlock them.

Scenic Designer Gabby Bly creates an exhibit space highlighting the unusual art. At audience left are several pedestals to hold sculptures, while on the opposite side, mannequins hang on a clothesline, with a tray of clothespins on the side. In the back are four large painting-like pieces hanging on the wall. Benches are throughout the stage. Costume Designers Olivia Comeau and Nyla Washiewicz keep the large cast of characters immediately distinguishable. The two Barbaras wear similar floral dresses, while Francoise is in a red pantsuit.

Lighting Designer Magdalene Cunningham spotlights a few characters, particularly Tink during her dramatic monologue. Special lighting effects occur for the paintings in the back. Sound Designer Steven Ney throws out comical sounds, including a too-loud self-guided tour cassette.

Director Atticus Cooper Broidy keeps the energy high with characters moving constantly throughout the stage and on and off. The actors navigate the stage and each other well and switch characters seamlessly. They hit all the right comic moments. Museum pokes great fun at the eccentricities of art and art-goers and is well worth seeing.

Running Time: Approximately 90 minutes, with no intermission.

Museum plays through April 19, 2025, presented by Anne Arundel Community College performing at the Robert E. Kauffman Theater in the Pascal Center for the Performing Arts, 943-951 Anne Arundel Community College Road, Arnold, MD. For tickets ($5–$20) call the box office at 410-777-2457 or purchase online.

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Ibsen’s work is not as popular as it once was. At one time, if you were planning on going to college but didn’t know at least one of his plays (A Doll’s House, for example), you would have been considered a slacker. Nowadays, though, Ibsen is just not required reading or viewing. In our jaded and ostensibly multicultural age, the societies we live in tend to be less uniform or coherent than they were in Ibsen’s time. One result of that is that Ibsen’s work often seems neither instructive nor shocking. The only place you’re likely to see a production of an Ibsen play in the 21st century is in Denmark or Norway. Or at an institution that doesn’t expect to turn a profit. Which brings us to Nomadic Theatre, a student-run organization at Georgetown University that has taken up the gauntlet and given us a production of Ibsen’s Ghosts in a new adaptation — Ghosts: A Family Tragedy, adapted by CC Mesa.

Ghosts is a play that is full of grief, guilt, and rage. Captain Alving, the patriarch of the Alving family, was a syphilitic ne’er do well who passed the disease on to his son and fathered a daughter — outside of his marriage — with their household maid. Mrs. Alving seeks guidance and comfort from the local reverend, Pastor Manders. In the course of their conversations, Mrs. Alving finds herself attracted to the Pastor. Pastor Manders advises Mrs. Alving to return to her husband and fulfill her responsibilities to him. Reluctantly, she does so. She also arranges for their son to be educated outside of the country and beyond the influence of the Captain. And she provides money to the pregnant maid that allows her to be married to Jacob Engstrand, who then raises the daughter, Regine, as his own child. At the opening curtain, time has passed, and Captain Alving has died. The son, Osvald, having become an artist, has returned to spend some time with his mother. Regine — like her mother before her — is working in the Alving household as a maid, and Mrs. Alving is planning the building of an orphanage in town in the Captain’s honor.

What I appreciated:

Every member of the production is energetic, determined, capable, and well-cast. Despite the density and internecine nature of the plot, these folks do not give up. Claire Cable (as Helene Alving) demonstrated the flexibility of listening and adapting to people around her that her character needed. Brendan Teehan (as Osvald Alving) was typecast. He has the pale and dark-haired look of the starving artist. But he balanced the irony, selfishness, and arrogance of his character skillfully. Tai Remus Elliot (as Jakob Engstrand) demonstrated a humor that, combined with his British accent, made him seem a little Alfred P. Doolittle from My Fair Lady. That humor provided the audience with a way out of the density of some of the text. Anna Kummelstedt (as Regine Engstrand) gave a solid supporting performance. Will Kennedy (as Pastor Manders) gave a forceful and presentational performance. I was unclear about his pastorliness, however. I look forward to seeing these actors in another production in the future.

CC Mesa’s adaptation was accomplished in smooth, uncluttered American English. No matter how extreme the characters’ choices were, they were clear.

The painted backdrop of the Norwegian fjords (Madeleine Ott) was dramatic and evocative.

What I missed:

In addition to adapting the play, CC Mesa also directed it. I wish that the director side of CC Mesa had shown a little more faith in the script adaptation she made and the talent and craft of the actors she cast and had given the proceedings a little more space to breathe. The show might have run 30 minutes longer. And perhaps that would have been a strain. But I wonder whether the production might have gained some humility and allowed the audience to develop greater empathy around the choices that these people made. As it was, at moments, I felt a little judgy of the characters, and that took me out of the play.

Running Time: Two hours and 30 minutes, including a 10-minute intermission.

Ghosts played March 27 through April 5, 2025, presented by Nomadic Theatre performing at Village C Theatre, 3795 Library Walk, on the Campus of Georgetown. University.

Ghosts, A Family Tragedy by Henrik Ibsen, a new adaptation by CC Mesa

CAST
Helene Alving: Claire Cable
Osvald Alving: Brendan Teehan
Jakob Engstrand: Tai Remus Elliot
Regine Engstrand: Anna Kummelstedt
Pastor Manders: Will Kennedy

PRODUCTION
Director: CC Mesa
Producer: Patrick Clapsaddle
Asst. Producers: Sophie Maretz, Ruby Lillie
Stage Manager: Mariana Salinas
Asst. Stage Manager: Anandita Agarwal
Technical Director: Linsey Brookfield
Asst. Technical Director: Sophia Lu
Lighting Designer: Alex Wang
Asst. Lighting Designer: Julia Swanson
Sound Designer: Molly Kenney
Asst. Sound Designer: Julia Nguyen
Set Designer: Olivia Li
Asst. Set Designer: Julia Swanson

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The production of Sweeney Todd: The Demon Barber of Fleet Street by Mask and Bauble Dramatic Society at Georgetown University is one that left a big impression on viewers — even with the use of such a small space. Based on the book by Hugh Wheeler, adapted into a play by Christopher Bond, and transformed into a musical by the legendary Stephen Sondheim, this university’s performance is one that is unforgettable. The Poulton Hall at Georgetown University in Washington, DC, opened its doors on April 1 at 8 pm for a press viewing of the adaptation of the timeless musical directed by Noah Vinogradov (SFS ’25). Just like the day of the performance, one would be a fool to underestimate the talent and skills of the students who were a part of this production.

Sweeney Todd: The Demon Barber of Fleet Street is a dark, complex musical that follows the tormented Benjamin Barker, who returns to London under the alias Sweeney Todd, seeking revenge against the corrupt Judge Turpin who sent him away in order to steal his wife. With the help of the manipulative pie shop owner, Mrs. Lovett, Todd embarks on a brutal campaign of murder — using his barbering skills to slit the throats of his unsuspecting victims. Set in 19th-century London, the musical also includes a story of forbidden love between Todd’s daughter, Johanna, and the sailor Anthony Hope.

The performance opened with “The Ballad of Sweeney Todd,” an ensemble number that introduced the audience to the intricate choreography and powerful vocals that would define the rest of the evening. There’s also nothing to chop up about the cast’s acting chops. Each actor’s portrayal of their character was spot on. The lead role of Sweeney Todd was portrayed by Massimo D’Onofrio (CAS ’28), who brought an intense depth to the character. D’Onofrio’s portrayal of Todd was a perfect balance of rage, grief, and madness. His rendition of “Epiphany,” a pivotal number in the show, was particularly impressive as he shifted through a range of emotions — from frustration and anger to sorrow and dark joy — all while maintaining a strong vocal performance.

Daisy Casemore (CAS ’26) played the role of Mrs. Lovett, and her performance brought much-needed comic relief to the otherwise dark and intense production. Casemore’s animated acting and singing infused the character with a manic energy that was both endearing and unsettling. Her over-the-top bursts of excitement were masterfully executed, showing the madness creeping into her character as the story unfolded. Another standout performance came from Jack Markowitz (CAS ’27) as Adolfo Pirelli. Markowitz’s portrayal was flamboyant and full of life. His ability to switch between an Italian and Irish accent was flawless, showcasing his range as an actor and leaving an impression reminiscent of Sacha Baron Cohen’s portrayal of the same character in the 2007 film adaptation. Stratton Rebish (CAS ’28) portrayed Tobias Ragg, and his performance was particularly moving. Rebish captured the innocence and naivety of the character before his tragic descent into madness. The emotional range Rebish brought to Tobias’s transformation was a testament to his acting skill — eliciting sympathy and heartbreak from the audience as his character’s vulnerability became increasingly apparent.

The chemistry between Johanna, played by Hannah Beil (CAS ’28), and Anthony, portrayed by Nate Findlay (CAS ’27), was another highlight of the production. The pair brought a genuine warmth to their love story, with subtle yet powerful moments that demonstrated their deep connection. Beil’s portrayal of Johanna was particularly captivating, especially during her song “Green Finch and Linnet Bird,” where her ethereal voice left the audience in awe. Her ability to hit high notes with such precision and beauty further amplified the emotional stakes of her character’s plight. George Concannon (GSAS ’26) as Beadle Bamford and Jack Kealey (CAS ’25) as Judge Turpin both delivered outstanding performances — embodying the cruel and sinister nature of their respective characters. Concannon’s Beadle was heartless and menacing, while Kealey’s portrayal of Judge Turpin was equally chilling, adding layers of moral corruption to the role.

Again, there is much emphasis to be put on the impressive usage of Stage III’s very intimate space at Poulton Hall. The costumes and makeup also added a great deal to the production. Each character’s appearance was thoughtfully designed, from the disheveled look of Todd to the colorful flamboyance of Pirelli, capturing the essence of their personalities. Additionally, the background actors were essential in creating the world of the play, and their singing and acting in moments such as “God, That’s Good!” were nothing short of impressive.

Overall, this performance of Sweeney Todd was an unforgettable experience, with every element, from the acting and singing to the technical aspects, contributing to a memorable and emotionally charged production. It was a performance that not only entertained but also moved the audience, earning a well-deserved standing ovation.

Running Time: Approximately three hours, plus a 10-minute intermission.

Sweeney Todd: The Demon Barber of Fleet Street plays for the public Thursday, April 3, through Sunday, April 6, 2025; Tuesday, April 8; and Thursday, April 10, through Friday, April 11, presented by Mask and Bauble Dramatic Society performing at Georgetown University in Poulton Hall, Stage III, 1421 37th Street NW, Washington, DC. Tickets (from free to $10) are currently sold out for all dates, but you can register for the waiting list online.

Sweeney Todd: The Demon Barber of Fleet Street
Book by Hugh Wheeler
Music and lyrics by Stephen Sondheim
Adapted from a play by Christopher Bond

DIRECTING STAFF
Director: Noah Vinogradov (SFS ’25)
Assistant Director: Rishu Nevatia (CAS ’27)
Producer: Grady McDonough (MSB ’26)
Assistant Producer: Elle Marinello (CAS ’28)
Stage Manager: Lily Marino (CAS ’26)
Assistant Stage Manager: Alexis Giaquinta (CAS ’28)
Assistant Stage Manager: Megan Lu (CAS ’28)
Assistant Stage Manager: Ruby Lillie (CAS ’27)
Technical Director: Brooke Bergin (CAS ’27)
Assistant Technical Director: Amelie Schulhof (CAS ’28)
Vocal Music Director: Ian Franza (CAS ’25)
Assistant Vocal Director: Molly Jenkins (CAS ’28)
Instrumental Music Director: Anna Holk (CAS ’27)
Assistant Instrumental Director: Claire McDowell (CAS ’27)
Choreographer: Kayla Jones (CAS ’25)
Assistant Choreographer: Charlotte Bonneau (CAS ’28)
Assistant Choreographer: Raquel Silva (CAS ’28)

CAST
Sweeney Todd: Massimo D’Onofrio (CAS ’27)
Mrs. Lovett: Daisy Casemore (‘26)
Beggar Woman: Ruth Abramovitz (CAS ’27)
Judge Turpin/Sweeney US: Jack Kealey (CAS ’25)
Anthony Hope: Nate Findlay (CAS ’27)
Johanna: Hannah Beil (CAS ’28)
Tobias Ragg: Stratton Rebish (CAS ’28)
Adolfo Pirelli: Jack Markowitz (CAS ’27)
Beadle Bamford: George Concannon (GSAS ’26)
Ensemble/Mrs. Lovett US: Emma Erdoes (SFS ’25)
Ensemble/Beggar Woman US: Chiara Volpi (SFS ’28)
Ensemble/Judge-Pirelli Swing: Daniel Tomas (SFS ’26)
Ensemble/Johanna-Tobias Swing: Delaney Devlin (SFS ’26)
Ensemble/Anthony US: Colin Wechsler (CAS ’26)
Ensemble/Beadle US: Julien Catalon (CAS ’28)
Ensemble: Adam Garrity (CAS ’25), Caroline Samoluk (CAS ’25), Kait
Delaney (CAS ’25)

PRODUCTION STAFF
Set Designer: Alec Hamblet (CAS ’27)
Lead Carpenter: Toby Shu (CAS ’28)
Set Dresser: Olivia Holmberg (CAS ’28)
Set Dresser: Mariela Cruz (SFS ’28)
Assistant Set Dresser: Claire Coleman (CAS ’26)
Scenic Artist: Charlotte Hibbert (CAS ’27)
Assistant Scenic Artist: Elle Marinello (CAS ’28)
Assistant Scenic Artist: Isabelle Darman (CAS
Assistant Scenic Artist: Anastasia Kelly (CAS ’26)
Lead Electrician: Cliff Stern (CAS ’26)
Lighting Designer: Mackenzie Pitsko (CAS ’28)
Assistant Lighting Designer: Ruby Lillie (CAS ’27)
Lights Mentor: Nick Romero (SFS ’25)
Sound Designer: Victoria Baioni (CAS ’27)
Assistant Sound Designer: Aidan Green (CAS ’27)
Assistant Sound Designer: Annie Flatt (CAS ’26)
Sound Mentor: Molly Kenney (CAS ’25)
Properties Designer: Patrick van Eyck (SFS ’28)
Properties Designer: Tommy Gaita (CAS ’26)
Assistant Properties Designer: Alexis Tarumianz (CAS ’26)
Costume Designer: Lainey Lyle (SFS ’27)
Assistant Costume Designer: Julia Wang (SFS ’27)
Assistant Costume Designer: Sophie Mayle (CAS ’27)
Assistant Costume Designer: Molly Meehan (CAS ’27)
Costumes Mentor: Miranda Fair (CAS ’25)
Costumes Crew: Callie Gelderman (SFS ’28)
Costumes Crew: Karina Han (CAS ’28)
Hair & Makeup Designer: Ariane Barth (SFS ’26)
Assistant Hair & Makeup: Jean Marte (CAS)
Assistant Hair & Makeup: Marin Napolitano (CAS ’28)
Hair & Makeup Crew: Alex Roberts (CAS ’28)
Hair & Makeup Crew: Daniel Chernyak (CAS ’28)
Publicity Director: Briana Sparacino (SFS ’25)
Assistant Publicity Director: Harry Tang (MSB ’25)
Assistant Publicity Director: Lucia McLaughlin (CAS ’25)
Graphic Designer: Anastasia Kelly (CAS ’26)
Dramaturg: Caroline Woodward (CAS ’27)
Dramaturg: Paulina Inglima (CAS ’27)
Assistant Dramaturg: Demetra Chudley (CAS ’28)
Cruise Director: Alex Roberts (CAS ’26)
Cruise Director: Kate Nonnenkamp (CAS ’27)
Assistant Cruise Director: Chloe Kim (CAS ’28)

PRODUCTION STAFF
Build Crew: Alex Wang (CAS ’25)
Build Crew: Amanda Bell (SFS ’28)
Build Crew: Antoinette Kersaint (CAS ’28)
Build Crew: Autumn Rain Nachman (CAS ’28)
Build Crew: Avelyn Bailey (SFS ’28)
Build Crew: Con Lane (CAS ’27)
Build Crew: Henry Ren (CAS ’26)
Build Crew: Jahana Shamdasani (CAS ’28)
Build Crew: James Kasrawi (SFS ’27)
Build Crew: Peter Sukstorf (SFS ’26)
Build Crew: Reilly Souther (CAS ’27)

BAND
Conductor: Anna Holk (CAS ’27)
Keyboard: Cynthia Gudaitis (SFS ’27)
Bass: Heather Begg (SFS ’28)
Percussion: Brian Weinberger (CAS ’25)
Flute: Katherine Chow (SFS ’28)
Flute (substitute): Caroline Thomas (CAS ’27)
Clarinet: Claire McDowell (CAS ’27)
Clarinet: Sabrina Sterrett (SFS ’27)
Clarinet (substitute): Josie Hwang (CAS ’27)
Bari Sax: Ryan Shea (CAS ’28)
French Horn: Elliott Schusky (SFS ’28)
Trombone: Dominic Wright (CAS ’28)
Trumpet: Amy Nilsson (SFS ’26)
Trumpet (substitute): Ruoxing (David) Yang (CAS ’26)
Viola: Abby Tucker (CAS ’25)
Violin: Jaewoo Chung (CAS ’25)
Violin: Vaishnavi Venkatesh (SOH ’28)
Cello: Matthew Weber (CAS ’28)

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This production of Ntozake Shange’s for colored girls who have considered suicide/when the rainbow is enuf, directed by Khalid Y. Long, PhD, is an engaging and affirming immersion into the 20 poems and monologs that make up a kaleidoscopic portrait of the varied experiences of African American women from girlhood to adulthood in the United States of America.

Shange attempted suicide four times over the course of her lifetime. The crux of for colored girls… looks at the dilemma of a Black woman’s task of summoning hope and maintaining the will to live and thrive in a white-supremacist and patriarchal society: a society that hates your existence.

Ntozake’s words lay out the dimensions of that box she found herself in. Her words are a message that lets other African American women know they are not alone in this struggle:

“That’s what I was discussing: how I am still alive and my dependency on other living beings for love. I survive on intimacy and tomorrow. That’s all I’ve got going.”

“Being alive AND being a woman AND being colored is a metaphysical dilemma I haven’t conquered yet.”

“Ever since I realized there was someone called a ‘colored girl’ I’ve been trying not to be that.”

“I couldn’t stand being sorry and colored at the same time. It is so redundant.”

“I had convinced myself that colored girls had no right to sorrow.”

“There was no air.”

Those last four words, unforgettable and mesmerizing, are how the segment entitled “Bo Willie Brown” begins. The line immobilizes the audience in the same way that a pin holds a butterfly in place. At the climax of this piece, a jealous, delusional, and PTSD-ravaged man drops his children from a 5th-floor window to their death while their mother watches. It synthesizes the tragic dimensions of the journey of Black Americans and the intertwined destinies of Black women with Black men in surviving forces of white supremacy.

“Bo Willie Brown” has always been the most shocking piece in the play. The clarity and focus that Mahlet Gebreyesus brings to her performance retains the poem’s power in this production. The word “motherfucker” is used so often today that it can become like just so much confetti that we brush off our ears and consciousness. When Gebreyesus addresses her estranged lover, Bo Willie Brown, she imbues the word with purpose and removes it from its use as a generic signifier of Black American–speak that it so often is in the movies.
The segment “Positive” deals with how homophobia and the resultant refusal to acknowledge bisexuality expose women to HIV/AIDS. It is an equally effective piece that has been added since the play’s original production. Chloe Lomax gives us a portrait of a woman of integrity and courage who, rather than feeling sorry for herself, pursues the truth that she needs that will allow her to face her future.

This production has been staged in the Al Freeman Jr. Environmental Theatre Space, which is a black box theater. There is no fourth wall in this intimate and elegant arena-style presentation. You can see everything from wherever you sit. The transitions between poems and monologs are as smooth as Alaga Syrup. It is a joy and a comfort to see how the youthful and energetic performers bring themselves fully and transparently to these pieces. It’s impossible not to root for them and to appreciate their commitment, energy, and focus as they work — in the words of the poet — to find God in themselves and love her fiercely.

In the first productions of for colored girls in the 1970s, the performers dressed in colored tights that evoked a kind of Martha Graham–referent dance/workshop atmosphere that had been merged with old European troubador stylings. These costumes indicated the generic and “universal” identities: Lady in Red (played in this production by Mahlet Gebreyesus), Lady in Orange (Chloe Lomax), Lady in Yellow (Me’kaili Johnson), Lady in Green (Jada Clay), Lady in Blue (Emil White), Lady in Purple (Kennedi Woods), and Lady in Brown (Kira Mukogosi). In Howard University’s production, the performers are dressed (costumes by Ellison K., Savannah Dodd, and Sharif Nelson) in a uniform black with the colors that identify them draped and wrapped intentionally and evocatively around torsos, waists, heads, shoulders, necks. This choice seems to replace the mid-20th-century, post–Civil Rights optimism of the original production with 21st-century sobriety. The production is neither nostalgic nor irrelevant.

Running Time: Approximately 90 minutes with no intermission.

for colored girls who have considered suicide/when the rainbow is enuf was performed March 28 and 29, 2025, and has remaining performances from April 1 to 5 at 7:30 pm and on April 4 at 2:00 pm (understudy run) in the Al Freeman Jr. Environmental Theatre Space (inside the Chadwick A. Boseman College of Fine Arts) on the Howard University Campus, 2455 6th Street, NW Washington, DC 20059. Tickets ($5 students, $10 general admission) are available online, in person at the box office, by emailing boxoffice.theatrearts@howard.edu, or by calling (202) 806-770.

The program can be seen here.

for colored girls who have considered suicide/when the rainbow is enuf
By Ntozake Shange
Directed by Dr. Khalid Y. Long

CAST
Lady in Red: Mahlet Gebreyesus
Lady in Orange: Chloe Lomax
Lady in Yellow: Me’kaili Johnson
Lady in Green: Jada Clay
Lady in Blue: Emil White
Lady in Purple: Kennedi Woods
Lady in Brown: Kira Mukogosi

UNDERSTUDIES
Lady in Red: Tamera McDuffie
Lady in Orange: Rayven Williams
Lady in Yellow: Jasmine Kai Young
Lady in Green: Kaci Wall
Lady in Blue: Efeoghene Rhoner
Lady in Purple: Kennedi McClure
Lady in Brown: Lauryn Cairdullo

CREATIVE TEAM
Choreographer: Lashawnda Iya Ifanike Batts
Assistant Director: Parris Brown
Stage Manager: Kaitlyn “KD”
Assistant Stage Manager: Kaia Chebiniak
Scenic Designer: Sidriel Conerly
Costume Designer: Ellison K.
Costume Designer: Savannah Dodd
Costume Designer: Sharif Nelson
Lighting Designer: Toni Rachal

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