Not Your Mother’s Goose!, the world premiere children’s play now playing at Adventure Theatre,is a high-energy romp through beloved nursery rhymes — only this time, the characters come to life in the most unusual ways. Writers Michael J. Bobbitt and Sandra Eskin dive deep into the minds of nursery rhyme figures we’ve all known since our cradle days, revealing what makes them tick (or tock). The characters spring to action on cue, their antics unfolding as naturally as breathing. 

The original script centers on the character of Hickory, a mouse who sends time into a tailspin when he neglects to set the town clock. When the audience is prompted to complete specific rhymes, they respond in perfect unison. But what if the well-worn stories were altered? (gasp!) What if Hickory didn’t run up the clock? What if it didn’t strike “one”? Once the expected doesn’t happen, it’s off to the races with zany scenarios and surprising insights into the intentions, behaviors, and identities of characters you thought you knew. This world premiere presents “nursery rhymes” in a brand-new light, pulling age-old routines out of tired ruts and setting them in a new groove. Over 20 nursery rhymes are mentioned or alluded to, adding to the brain-twisting rediscovery of characters and their playful situations.

While four main characters carry the show, it feels like the entire nursery rhyme world has moved into the prominent full-size work boot that nearly grazes the rafters on stage, and, along with a clock tower and a waterspout, makes up the bulk of the set. (Handiwork by scenic artists Megan Holden and Salem Clouse.)

The cast works together as a winning ensemble. Hannah Taylor plays Mary, Mary (and Bo Peep) as quite contrary, wielding her hooked staff through many hilarious episodes. Walker Vlahos is a physically nimble Jack (with a passive-aggressive unseen sister Jill), but he also pulls out plums with his thumb and has irresistible urges to jump over candlesticks. Irene Hamilton is the Itsy Spider in existential crisis about running up the spout only to be washed out by the rain. Hamilton embraces the physicality of the role, using her whole body to express the anguish of the spider.

And finally, Helen Hayes Award winner Ryan Sellers is Hickory the mouse, who is so tempted by tantalizingly fragrant cheese that he forgoes his clock duties, leading to time-altering chaos. Sellers exudes warmth and charisma with every movement and facial expression as the mouse goes through the stages of temptation, remorse, stealth, and determination.

Once Mother Goose, played with matronly panache by Martina Schabron, forgets how to rhyme, even loud hints from the audience don’t help. When day melts into night and the rhymes fall apart, the characters must work together to make things right, even if poor Humpty Dumpty never quite gets it together again. (Well, he was warned about that wall!)

Serge Seiden’s colorful direction supports a cohesive design team. Sound designer Kenny Neal’s opening jazz soundtrack immediately relaxes the mind and is reminiscent of the Charlie Brown animated shows that made history using adult sounds for family stories. Slapstick sounds throughout the production underscore the characters’ adventures. Resident props and puppet designer Andrea “Dre” Moore brings whimsy to the production through a steaming cow, and Paris Francesca’s costumes, from Hickory’s perky mouse ears to Mary’s frilly skirt, are a standout. Day turns to night and back to day again with ease thanks to Lynn Joslin’s lighting design.

More than a set of “fractured fairytales,” Not Your Mother’s Goose! captures the spirit of supposedly simple characters who are plopped into unexpected situations. What’s fascinating is watching the characters change course from despondent flailing to personal resolve, working together to get their lives back on track. This world premiere is a winner full of high jinks, winks, and laughter for all.

Running Time: 60 minutes with no intermission.

Not Your Mother’s Goose! plays through November 2, 2025 (Wednesday to Sunday at 11 AM; Saturday and Sunday at 2 PM) at Adventure Theatre MTC (ATMTC), 7300 MacArthur Blvd, Glen Echo, MD. Purchase tickets (general admission $26, with birthday party, group, and field trip rates available) online or by calling the box office at 301-634-2270.

COVID Safety:  Masks are currently optional for Adventure Theatre for most performances.

Not Your Mother’s Goose!
By Michael J. Bobbitt & Sandra Eskin
Directed by Serge Seiden 

CAST
Mother Goose: Martina Schabron
Itsy: Irene Hamilton
Mary: Hannah Taylor
Hickory: Ryan Sellers
Jack: Walker Vlahos

CREATIVE TEAM
Set Designer: Megan Holden  
Lighting Designer: Lynn Joslin 
Costume Designer: Paris Francesca
Sound Designer: Kenny Neal
Resident Props Designer & Puppet Designer: Andrea “Dre” Moore
Production Manager: Dom Ocampo
Stage Manager: Shannon Saulnier
Assistant Stage Manager: Brian Stopak

SEE ALSO:
Adventure Theatre to start 2025/26 season with wild goose chase in ‘Not Your Mother’s Goose!’ (news story, August 31, 2025)

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Eric Carle’s treasured stories have long been a mainstay in family libraries, and these cherished tales have charmed generations of children. At Imagination Stage, Carle’s tales are being illustrated onstage in The Very Hungry Caterpillar Show (created by Jonathan Rockefeller), which brings four of the author’s most famous books to life. In addition to the eponymous story, The Very Hungry Caterpillar Show also includes renderings of Brown Bear, Brown Bear; The Very Lonely Firefly; and 10 Little Rubber Ducks. Featuring 75 wondrous puppets, bouncy original music, and a trio of talented puppeteers and storytellers, this whimsical production is an ideal family outing that is a phenomenal kickoff for the organization’s 2025/26 season.

The storytelling puppeteer trio of Carl L. Williams, Mollie Greenberg, and Cristina Sanchez gave vibrant performances. They flawlessly executed the movement styles of each character, from the lumbering brown bear to the flitty illuminated firefly. Williams, Greenberg, and Sanchez narrated the text with contagious enthusiasm as they perfectly matched their tone to each animal while conveying emotions from boundless joy to impending danger. This ensemble was friendly and engaging when interacting with the hundreds of captivated children in the audience, effortlessly holding their attention from beginning to end.

Nikki Mirza’s magnificent direction vividly personified Carle’s works, and her immersive staging creatively brought the story into the crowd. This presentation was warmly received by the audience, who energetically reacted when puppets passed alongside their seats as they moved through the aisles. Rockefeller Productions excelled in creating the play’s 75 exquisitely intricate puppets, which portrayed Carle’s characters with extraordinary attention to detail. These ingenious creations were essential in allowing the characters to leap off the pages of the books, effectively personifying them onstage. These genius artists also manufactured props from everyday items that colorfully detailed the settings, as she utilized flowing blue cloth to imitate ocean waves and cardboard boxes to form the structure for various modes of transportation.

Puppet Coach Matthew Pauli skillfully trained the cast in operating the puppets, and his expertise was reflected in the performers’ smooth and flowing styles when working with complex apparatuses of varying size and structure. Much to the delight of the crowd, Helen García-Alton’s dazzling lighting design displayed kaleidoscopic polka dots, a smiling moon, and glimmering fireworks. The audience responded with rousing applause to her sparkling disco ball sequence as the caterpillar transformed into a gorgeous butterfly in this magical scene. Ian Vespermann’s well-balanced sound design allowed the dialogue and music to fill the room in blended harmony, with these elements never overpowering one another. His sound effects contributed to a unique multi-sensory experience, and his audio crisply depicted the caterpillar’s zealous crunch as well as the whale’s moaning bellow.

The Very Hungry Caterpillar Show is a theatrical masterpiece that brilliantly combines artistic mediums to create an unforgettable literary journey. Returning to Imagination Stage by popular demand after a triumphant run in 2023, this production is well worth the two-year wait for area audiences to enjoy it once again. Those who make the journey to this charming Bethesda venue will be thrilled to see these legendary works come alive. For the youngest attendees, the stories are a brilliant educational tool for learning about sounds, colors, animals, and a myriad of senses. This show is sure to warm the hearts of children (regardless of their being familiar with Carle’s work), as well as adults who are likely to carry fond memories of reading these beloved books to their children or even grandchildren. Audiences will be “still hungry” long after the final bow concludes.

Running Time: 45 minutes, no intermission.

The Very Hungry Caterpillar Show plays weekday and weekend matinees through October 12, 2025, at Imagination Stage, 4908 Auburn Ave, Bethesda, MD. Tickets (starting at $15, with dynamic pricing for more popular dates) can be purchased online, in person at Imagination Stage’s box office, or by calling the box office at 301-280-1660.

Best for ages 2 to 6.

COVID Safety: Masks are optional.

The Very Hungry Caterpillar Show
Based on Eric Carle’s books
Created by Jonathan Rockefeller
Directed by Nikki Mirza

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Oscar Wilde’s children’s tale The Selfish Giant as adapted by Bits ‘N Pieces Puppet Theatre is on tour at the Puppet Co. through September 14. The celebrated author of such works as The Importance of Being Earnest, A Woman of No Importance, and The Picture of Dorian Gray wrote children’s stories as well, and catching this fun adaptation is a rare treat.

A little brother and his older sister have fun playing after school and decide to hit their favorite spot, a beautiful garden that belongs to a giant that they’ve never seen because he’s been away so long. They cautiously approach, ever mindful of the giant they’ve heard about, terrified that he could appear around the corner any minute. But the trees are perfect for climbing and the delicious peaches are so irresistible that the boy has finally eaten the last one. The giant, exhausted from his long trip, only wants the peace and quiet of home, and confronts the intruders. Although big sis flees in terror, the little boy tries to coax the giant to play, but the giant will have none of it. Once the boy is banished, the weather turns icy cold with howling winds, icy snow, and pattering hail. Eventually, the giant reflects that he’s alone and cold in his quiet solitude, he longs for the laughter and fun of children playing, and finally he enjoys the sunshine and warmth when they return.

Jerry Bickel brings the sweet story to life with bouncy music and marionette puppets that he introduces by actually coming out into the audience. He brings out the brother who looks for his sister during hide-and-seek with the puppet dancing on the children’s outstretched hands wondering where she could be hiding. The puppets are instantly transformed into curious little friends in Bickel’s seasoned presence. I saw a particularly rambunctious little one become quietly attentive when listening to the story and approached by the puppet on the strings. Puppets have a way of bringing you into magical moments.

Bits ‘N Pieces Puppet Theatre has been entertaining audiences throughout Tampa Bay, Florida, and on national tours. Founder Jerry Bickel developed the company in 1976 having dreamt of having his own puppet company when he was a child. The vision statement for the company says it all:

Bits ‘N Pieces Puppet Theatre is dedicated to influencing the world of tomorrow by enchanting the children of today. Through the theatrical retelling of classic children’s stories, each with its own unique life lesson and moral, Bits ‘N Pieces brings to life the magical wonderment of children’s fantasy and reinforces the core values long told and emphasized by great storytellers.

This is the final touring production of the summer at the Puppet Co., which has provided a special opportunity for audiences to see a range of puppet theaters. The inspirational message from Oscar Wilde to share and care with others is topical and fit for the entire family.

Running Time: Approximately 45 minutes.

The Selfish Giant’s Garden plays through September 14, 2025 (Thursdays and Fridays at 10:30 am; Saturdays and Sundays at 11:30 am, 1 pm, and 3 pm), presented by Bits ‘N Pieces Puppet Theatre performing at the Puppet Co. Playhouse, 7300 MacArthur Blvd, Glen Echo, MD. Purchase tickets ($16 per person) by calling the Box Office (301-634-5380) or order them online. (Under age 2, no ticket required, but call the Box Office to reserve a free ticket.)

Recommended for ages 4+. Helpful driving and parking instructions are here.

Bits ‘N Pieces Puppet Theatre presents
The Selfish Giant’s Garden
Inspired by Oscar Wilde’s The Selfish Giant
Script Adaptation by Jerry Bickel
Performed by Jerry Bickel
Puppets and Scenery by Jerry Bickel, Todor Ristic, Holli Rubin, and Czech Puppet Artisans
Music by NEO Sounds

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The show’s title, New Squid on the Block, is an obvious riff off the boy band New Kids on the Block, but thanks to the creative wit of writers for Barefoot Puppet Theater, the pun goes even deeper. The setting is Antarctica, so the reference can also be to a block of ice. In this original production, the characters are inspired by nature, and the show explores friendship through the use of stuffed animal and rod puppets.

The scene starts with two buddies trying to decide where to go for vacation. One has on a sweater and earmuffs, ready to face the cold, while the other wears a colorful lei and practices her moves for Hawaii. They pull out a map, and while one points to the nether regions of the South Pole and her friend looks longingly at the Hawaiian Islands, both mime their eagerness to visit their preferred destination. When the old standby game rock, paper, scissors doesn’t work, the power of compromise and friendship prevails, and the two set off on their trip with exuberance and excitement.

Tucked behind crates with a simple curtain and a backlit spotlight, the performers pantomime being submerged in a colorful yellow submarine, watching the oceanic wildlife float in front of their eyes. Before long, the crates are rearranged to resemble massive icebergs, and a penguin family appears, sliding down the icy hill to playfully splash in the icy waters, alongside a dark pink tentacled squid tucked nearby.

The performers moved the stuffed animals with ease, sometimes circling between each other’s arms to use the space. They were particularly talented in vocalizing the sound of the penguins, which was a highlight. I still don’t know how they did it, but each had its own sound. All fidgeting among children in the audience stopped when the young baby penguin started interacting with a new squid friend, enjoying a simple game of rolling an ice ball across the ice into the water, then watching it gently resurface. The drama occurred when baby penguin got swept away on a block of ice and into the clutches of a shark. The ensuing pursuit of the squid to help his buddy was as captivating as a car chase. The performers brought all the scenes to life without words, just intentional movement and original music by Ned Hakins. Watching baby penguin finally take a long slide into the imaginary splashing water was a thrilling conclusion.

What makes New Squid on the Block special is its absolute simplicity and its use of movement instead of words. It was a refreshing pivot from everyday chatter to watch the characters go through their adventures and feel the touching moments portrayed through movement. Also unique was the seamless flow between the two performers as actors for the opening and closing scenes, then watching them move the puppets around in play — a fun-filled accomplishment by the touring company Barefoot Puppet Theater.

Production and Operations Manager Maggie Rocha indicated that The Puppet Co. is hosting several puppet companies in its space this summer. Last month, the Great Lakes National Puppet Theater performed the classic fairy tale The Frog Prince, and Bits ‘N Pieces Puppet Theatre will present The Selfish Giant’s Garden later this month. These touring companies offer a special opportunity for audiences to see a variety of puppet theaters. As such, The Puppet Co. provides a nurturing environment for the next generation of puppeteers. Judging from the rich, creative shows this summer, puppets and puppeteering continue to hold a special place in all our imaginations.

Running Time: Approximately 45 minutes.

New Squid on the Block plays through August 10, 2025 (Thursdays and Fridays at 10:30 am, Saturdays and Sundays at 11:30 am and 1 pm, Saturdays at 3 pm), presented by Barefoot Puppet Theater performing at the Puppet Co. Playhouse, 7300 Macarthur Blvd, Glen Echo, MD. Purchase tickets ($16 per person) by calling the Box Office (301-634-5380) or order them online. (Under age 2 no ticket required, but call Box Office to reserve a free ticket.)

Recommended for ages 4+. Helpful driving and parking instructions are here.

Barefoot Puppet Theater Presents
New Squid on the Block
Performed by Heidi Rugg and Genna Beth Davidson
Written and Devised by Heidi Rugg with assistance from Nicole Moran
Puppets and Scenery by Heidi Rugg, Nicole Moran, and Genna Beth Davidson
Scenic Construction by Sam Rugg
Music by Ned Haskins

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Since Sesame Street first appeared on public television in 1969, it has educated and entertained generations of children. Multiple generations — from the excited toddlers dressed as their favorite characters to the parents and grandparents who brought them to the show — were in attendance this week at Sesame Street the Musical at the Kennedy Center, and director Jonathan Rockefeller aims to deliver something for everyone.

As you enter the Kennedy Center’s Terrace Theater, a series of parody Broadway posters line the walls, including Bath to the Future – The Musical (starring Ernie in his beloved bathtub), Les Macarons (starring Cookie Monster), The Fraction of the Opera-ah-ah (starring the Count), and Waiter (starring Grover) among the highlights. Literally and figuratively over the heads of most of the children walking into the theater, the parody posters appear later as part of the set (Tyler Schank, scenic designer) and establish from the beginning that Sesame Street the Musical is not only a show for kids, but a playful send-up of theater itself with plenty of self-referential humor for the adults in the audience to enjoy.

Opening with the beloved Sesame Street theme song, Sesame Street the Musical features a pre-recorded score of classic songs from the show, numbers that Rockefeller refers to as “deep cuts,” and original songs written by Nate Edmondson in collaboration with Broadway composers Tom Kitt and Helen Park. (Edmondson also serves as the show’s sound designer.) A talented ensemble of puppeteers (Mecca Akbar, Julia Feinberg, Yanniv Frank, Joe Newman-Getzler, Natalie Michaels, Vickie Oceguera, Molly Penny, Dustin Scully, Matteo Villanueva, and Anthony White) strategically hidden behind the walls of the set, operate the cast of puppets in sync with the recorded voices of the Muppet stars. That the layers of sound design function near-seamlessly in tandem with the puppetry — with the occasional miscue (such as when voices were difficult to hear over the music during the original number “Hey! We’re in a Musical!”) quickly corrected — is a testament to the skill of the ensemble and crew.

The musical functions as a revue, loosely tied together by a frame story in which the Muppets are trying to stage a musical but have forgotten to book a guest star. When Olivia (Olivia Bernábe), the only non-puppet actor in the performance, wanders onto the set in search of their seat, they are recruited as the “special guest” and taken on a journey to learn to sing, dance, choose a costume, overcome their nerves, and perform with confidence. The frame story was lost on my Sesame Street-loving three-year-old, who asked if Olivia was “the mama,” but the familiar Muppet musical numbers delighted him, especially “Elmo’s Got the Moves,” featuring Elmo dancing with several pairs of golden puppet shoes; “C is for Cookie,” starring Cookie Monster with a set of anthropomorphized puppet cookies that he attempts to eat; and “Rubber Duckie,” with Ernie and his duckie blissfully “splashing” on stage as a bubble machine blew bubbles into the audience. The Count’s disco-flavored “Number of the Day” (complete with disco ball at stage right and dazzling lighting by Malory Hartman) was another crowd pleaser, although very young or especially sensory-sensitive children may be overwhelmed by the pulsating lights and beats.

My son’s all-time favorite Sesame Street character is Oscar the Grouch, and Oscar does not disappoint in the musical. Popping up from his trash can for the first time following Olivia and Rosita’s duet “Sing After Me,” Oscar prevents the musical from turning too saccharine with his appearance as the “critic-at-large” for the “New Yuck Times.” As a display of his newspaper headlines appears as a backdrop (“Stinky! Rotten! Trash! Scram!”), Oscar announces to the audience, “You better not be enjoying yourselves or else I won’t have anything to write about!” as he launches into his number “I Love Trash,” accompanied by a cast of trash puppets including a broken umbrella and a dilapidated trombone. The irony that I laughed harder at Oscar than at anything else in the show at a performance I was there to review is not lost on me.

While Oscar would undoubtedly have found the moment too “nice” for his liking, the song “Fuzzy and Blue (and Orange)” for me best summed up the spirit of the musical (and of Sesame Street). In solo verses and a shared chorus, Cookie Monster and Grover sing of their pride in being “fuzzy and blue.” When an orange Martian wanders on stage, they notice its difference (“You’re not fuzzy and blue — you’re orange!”) but quickly update the song to include the newcomer. Just as Sesame Street has evolved over the years while remaining true to its identity, as Rockefeller notes in an interview in the Kennedy Center’s CENTER magazine, Cookie Monster and Grover keep singing on beat, proud of being fuzzy and blue — while making space for the Martian to join the chorus and belong. As the Muppets take the stage in our nation’s capital at a time where questions of American identity and who is welcome in America take center stage in national news, the United States can learn much from Sesame Street about remaining true to itself while being welcoming to newcomers and willing to evolve.

Running Time: Approximately 70 minutes without intermission.

Sesame Street the Musical plays through August 31, 2025, presented by Rockefeller Studios, performing in the Terrace Theater at the Kennedy Center, 2700 F St NW, Washington, DC. Purchase tickets (starting at $45) in person (the Hall of States Box Office is open Monday – Saturday 10 am – 9 pm and Sunday 12 pm – 9 pm), by calling the box office at (202) 467-4600, online, or through TodayTix. Sensory-friendly performances are available Sunday, August 10, and Saturday, August 30, both at 3:30 PM.

Best enjoyed by ages 2+
View the digital program here.

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Renowned playwright George Bernard Shaw once said, “Imagination is the beginning of creation.” That quote could not be more relevant to the current production of Dory Fantasmagory at Imagination Stage, which is splendidly directed by Kathryn Chase Bryer (with music direction by Deborah Jacobson). This charming play features uproarious comedy, dynamic characters, and innovative visuals, creating a delightfully interactive theatrical experience. Based on Abby Hanlon’s popular book of the same name, this whimsical stage adaptation by John Glore (with music by Deborah Wicks La Puma) is the perfect introduction to the performing arts for young audiences.

Dory Fantasmagory tells the tale of the eponymous six-year-old girl, whose picturesque imagination takes her on wild adventures and helps her cope with life’s challenges. As the youngest of three children, Dory faces rejection from her older siblings, Violet and Luke, who put a damper on her creativity and refuse to play with her. Dory’s imagination fosters numerous fanciful pals and enemies, including a friendly monster named Mary, an eccentric fairy godmother named Mr. Nuggy, and an evil villain named Mrs. Gobble Gracker, whose mission is to capture Dory and claim her as her own baby. Dory is forced to evade her to avoid falling victim to her callous scheme. Mary and Mr. Nuggy come together to protect Dory from Mrs. Gobble Gracker and, most importantly, help Dory win attention from her family. Along the way, the trio is led on a quest, filled with hairpin twists and turns.

In the title role of Dory, Victoria Gómez gave an effervescent performance. A gifted actress, she vibrantly expressed joy when playing with her imaginary friends, anger when dealing with her ignorant siblings, and courage when facing Mrs. Gobble Gracker. Her vivacious expression and enthusiasm delighted the audience, and she also exhibited a resounding singing voice when performing Dory’s theme song. Sumié Yotsukura (Violet) and Ethan J. Miller (Luke) both colorfully conveyed their discontent with Dory’s imagination, and their disgusted demeanors and mocking tone added depth to their antagonism. Miller also played Mr. Nuggy with charm and animation, delivering his lines with a jolly Scottish accent while presenting flawless comedic timing.

As Mary, Irene Hamilton warmly portrayed a protective attitude toward Dory, and her engaging audience interactions were extraordinarily entertaining. Nia Savoy-Dock’s rich characterization of Mrs. Gobble Gracker was marked by her witchy, cackling vocals and intimidating presence. Her character interpretation was sensational. She dazzled in depicting the character’s evil disposition, and her performance was very well-received. Savoy-Dock also took on the role of Dory’s firm but understanding mother, demonstrating remarkable versatility in these vastly different parts.

Alberto Segarra’s ingenious lighting design, combined with Andrew R. Cohen’s multi-dimensional set, made for a visual feast that tremendously enriched the story. Segarra’s lighting displayed illuminated characters from Dory’s imagination, as well as an opening shadow puppet sequence that was deeply heartwarming. Cohen’s ingenious rotating scenery impeccably captured the whirlwind rollercoaster that was Dory’s imagination, seamlessly transitioning between locations. Tony Thomas’ choreography incorporated lively movement sequences that enhanced the quirky mood of Dory’s imaginative world, often mimicking the playfulness and carefree nature that children demonstrate when playing make-believe.

Dory Fantasmagory at Imagination Stage vividly brings the beloved book to life and is an ideal summer outing for families. An enchanting adventure for all generations, this production fosters creativity in children and childlike wonder in adults, igniting the youthful spirit in us all. Dory’s playful outlook on the world will inspire young and old, and the lessons that this piece teaches will strongly resonate with audiences. Imagination Stage concludes its 2024/25 slate with this brilliant piece, and this show is a wonderful way to conclude their magical season.

Running Time: 65 minutes, without intermission.

Dory Fantasmagory plays weekday and weekend matinees through August 3, 2025, at Imagination Stage, 4908 Auburn Ave, Bethesda, MD. Tickets (starting at $15, with dynamic pricing for more popular dates) can be purchased online, in person at Imagination Stage’s box office, or by calling the box office at 301-280-1660.

Best for ages 4+.

COVID Safety: Masks are optional.

Dory Fantasmagory
Adapted for the stage by John Glore
Based on the book by Abby Hanlon
Music by Deborah Wicks La Puma
Directed by Kathryn Chase Bryer
Music direction by Deborah Jacobson

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

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

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

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

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

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

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

Recommended for ages 4 and older.

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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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In the Maryland Ensemble Theatre (MET) production of The Commedia Princess and the Pea, the fun begins for the youngsters — many of them elementary and pre-K age — well before they ever get inside the theater. The lobby and hallway are full of balloons, balloon animals, face painting, crayons, and a juggler.

Then the show begins, with chaos well organized by director Stephen Craig, as the four actors scramble to get costumes — not always the right ones at first — deploy props, and figure out who is playing which character. Columbina (Jennifer Pagano) assigns Areliquine (Karli Cole) to play the lonely Prince (not the pea, as she had initially feared), Rosetta (Molly Parchment) to play the scheming Queen, and Punchin (Fred Fletcher-Jackson) to play the Queen’s musician and co-conspirator while reserving the role of the Princess for herself. The characters track, without being too literal about, stock Commedia types.

Characters proliferate as the show proceeds. Columbina and Punchin enter as a rapid-fire series of improbable, unsuccessful princesses. Rosetta insists on popping in as a Fairy Godmother, while Arequiline wanders on as a knight with a Southern accent. In a nod to the Italian origins of the Commedia form, Columbina gives us an intentionally corny Italian accent.

True to the Commedia style, gestures and movements are comically exaggerated, with plenty of slapstick to go around. There is lively music in sound designer Kaydin Hamby’s varied underscoring, much of which is derived from classical or opera sources (introducing the Princess with an “Ave Maria” was a bit odd), and comic dancing to go with it. The energy of the actors’ movement and their high level of physical acting skill are exemplary throughout.

When it comes to the key plot point, the actors stack trunks and other elements of Jeremy Myers’ prop design on Rhett Wolford’s simple but functional multicolored set to form the bed on which the Princess, of course, cannot get to sleep because of the tiny pea underneath the pile. Not just the underlying costumes — the Princess’s patchwork skirt is particularly fun — but the variable costume bits in Julie Herber’s design add color and delineate the characters. Commedia masks were not part of the design, however.

In addition to the physical antics of the troupe, the witty script by Lane Riosley and Rebecca L. Byars gives adults in the audience as well as the kids plenty to chuckle about. The rhyming verse exchanges between the Queen and Punchin were particularly delightful.

I took care to watch the audience during the show: the kids were paying attention to what was going on, not squirming, seemingly not bored. That’s always a good sign that a show directed at a young audience is working. I had not seen one of MET’s “FUN Company” shows before. In this production, the company does a fine job of providing entertainment to its audience that is of good professional quality, avoids being cloying or condescending, introduces kids to an important theatrical form without being “instructional” in tone, and surrounds the play itself with activities that all comers enjoyed.

Running Time: 55 minutes, with no intermission.

The Commedia Princess and the Pea plays through March 9, 2025, at Maryland Ensemble Theatre, 31 West Patrick Street in downtown Frederick, MD (across the street from the Weinberg Center). Performances are Saturdays at 10:30 am and 1:30 pm and Sundays at 1:30 pm. Patrons are encouraged to come early to enjoy the pre-show activities. Tickets ($17–$20, with discounts for children, seniors, and military) can be purchased by phone at 301-694-4744 or online.

MET’s FUN Company presents
The Commedia Princess and the Pea
By Lane Riosley and Rebecca L. Byars
Directed by Stephen Craig

CAST
Karli Cole: Arlequine
Molly Parchment: Rosetta
Jennifer Pagano: Columbina
Fred Fletcher-Jackson: Punchin

CREATIVE TEAM
Stephen Craig: Director
Melynda Burdette Wintrol: Interim Managing Director
Cody James: Technical Director
AJ George-Wright: Stage Manager
Kaydin Hamby: Sound Design
Julie Herber: Costume Design
Jeremy Myers: Props Designer
Rhett Wolford: Set Design
Ashley Federico: Lighting Design

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When my mother and I sat down for this performance, we couldn’t help but smile at the sight of toddlers and children excitedly bouncing around and chatting with their parents. As any parent can tell you, keeping a small child engaged and happy for an extended period is no easy task, but Paper Dreams at Imagination Stage, directed by Kathryn Chase Bryer, managed to captivate both the young and the old with a whimsical journey about the power of discovery and the joy of imagination.

This nonverbal dance-based performance follows two friends who live inside a wastepaper basket. Together, they use their imagination and some simple scraps of paper to tell a story full of creativity and laughter, showing just how simple it can be to spark inspiration and fun.

The challenge of a nonverbal performance is that the performers must be extra expressive with their face and body to convey a character’s feelings. However, dancers Gabriella Giegerich and Hannah Taylor were able to animate themselves so that even the back row could understand what they were feeling. The dancers moved around the space and each other with a cartoon-inspired elegance that felt playful but never let the audience lose sight of the fact that these two performers were clearly seasoned dancers. Giegerich and Taylor were able to manipulate themselves into creating certain physical illusions, such as a crumpled piece of paper being heavy or struggling to pull the other out of the basket they were “stuck” in, which added an extra layer of entertainment to many moments.

I was pleasantly surprised by the amount of audience interaction during the performance. From having the audience smell paper flowers to creating a flock of birds with small scraps of paper, the interaction kept the younger audience members engaged and made the older audience members feel young again. The intimacy of these interactions drove home the overarching message of discovery through playing with others.

Throughout the performance, projections were cleverly used with the help of lighting designer Zachary Gilbert to highlight different imaginative scenes. On more than one occasion, Giegerich and Taylor stacked the paper props in different horizontal or vertical arrangements to allow certain projections to display on them, often to the surprise and wonderment of the audience. These effects showed an advanced understanding of the stage by the performers and a deep level of trust and communication between the performers and the crew.

When the audience first views the set, everything is covered in colorful scraps, but as the show progresses, the performers dramatically reveal the next item for their inspiration while also continuing to utilize the scraps. This intermittent revelation of set pieces throughout allows for constant reengagement with the younger audience members. The simplicity of the set and props don’t limit the performers; in fact, I was constantly impressed by their ability to evoke very specific events, such as a fashion show, through only paper, lights, and sound. The simplicity also leaves room for the audience to fill in some gaps, encouraging them to use their imagination along with the performers.

This performance is tailored to the children, which I appreciated but also struggled with as an adult audience member viewing this with another adult audience member. Before the show started, my mom said, “We should’ve found a little kid to bring with us!” and there was certainly some truth to that. I occasionally felt like certain scenes and moments were a tad long, but that extra length meant that a distracted child had a chance to re-engage with a cool projection or interactive moment before it passed by, allowing for not only increased individual inquiry but also more collective moments that sparked joy in every row of the theater.

In this increasingly digital era, encouraging the power of imagination in our young feels more relevant than ever. Creative collaboration opens doors to endless possibilities, and Paper Dreams does an excellent job at conveying those possibilities through fun and interactive moments that anyone can understand and appreciate regardless of age.

Running Time: 45 minutes, without intermission.

Paper Dreams plays weekends through February 16, 2025, at Imagination Stage, 4908 Auburn Ave, Bethesda, MD. Tickets ($19.50) can be purchased online, in person at Imagination Stage’s box office, or by calling the box office at 301-280-1660.

Best for ages 1+.

COVID Safety: Masks are optional.

Paper Dreams
Written and originally directed by Claudia Moreso, Mons Dansa Dance Company (Barcelona, Spain)
Directed by Kathryn Chase Bryer

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Imagination Stage is known for presenting the highest quality theater for young audiences, and Petite Rouge: A Cajun Red Riding Hood is no exception. This inventive adaptation by Joan Cushing, based on the book written by Mike Artell and illustrated by Jim Harris, puts a Louisiana twist on the classic fairy tale. Our heroine is a young duck named Petite Rouge (Jordan Leah Embrack), donning the titular red cape, and the Big Bad Wolf is now an alligator chef named Claude (Michael Perrie Jr.).

In this updated story, Mrs. Duck (Edima Essien) sends Petite Rouge and her best friend, a smart-alecky cat named TeJean (Stephen Russell Murray), to deliver gumbo and hot sauce to Rouge’s ailing Grandmere (Aja Goode). Along the way, Petite Rouge decides to take a detour to see a bit more of the world. Concurrently, we learn that Claude is absolutely famished, and upon seeing our heroes, he resolves that having duck on the menu is the only way to satisfy his hunger. Petite Rouge and TeJean try to evade Claude, meeting some Gator Trappers (Carl L. Williams, Essien, and Goode) who offer to assist in Claude’s capture. The chase takes the pair onto a riverboat and through a Mardi Gras celebration in New Orleans. The final scenes at Grandmere’s house have a spicy twist, giving our heroes a new way to triumph over the dastardly gator.

The spirited score transitions through musical styles, including bluesy tunes, rollicking zydeco beats, uplifting Disney-esque ballads, and even a dirge. The exceptional vocals of the ensemble, Maurice Johnson’s exuberant choreography, and the deft hand of music director Deborah Jacobson complement each song’s unique style.

Jordan Leah Embrack as Petite Rouge has dazzling vocals and infectious energy. “Waiting for Life to Start!” (the song presenting the duck’s greatest desire) showcases Embrack’s vast talents, singing with optimism and joy reminiscent of many a Disney favorite. Murray’s TeJean is the perfect compatriot for our heroine. His dance and tumbling skills were on display during the Mardi Gras scene, wowing the audience.

Michael Perrie Jr.’s Claude was exceptional, playing the villain with a mix of comedy and playful malice. Claude adopts several disguises in his efforts to trick the little duck and cat, each distinct and with a dash of hilarity. Every moment Perrie Jr. was on stage elevated the production. Finally, the ensemble delivered, with Essien, Goode, and Williams moving effortlessly through a multitude of characters and critters. This trio drives the plot forward, singing five installments of “The Ballad of Petite Rouge” to let us know where we’re headed next.

The acting isn’t the only stellar part of this fun production; the production design is truly outstanding. Sophia Tepermeister’s set is beautifully evocative of a weeping willow in a Louisiana swamp and is the perfect functional playground for the actors to inhabit. Andrea “Dre” Moore’s props were whimsical and set the scene perfectly. The costumes (designed by Paris Francesca) give a playful nod to the creatures portrayed by each performer without becoming a full caricature.

Christian D. Henrriquez’s lighting was a visual delight, with eye-catching colors and patterns to enhance the vibes in the bayou and at the Mardi Gras celebration. Sam Crawford’s sound design was essential in creating an immersive feel throughout our little duck’s journey.

Further kudos must be given to director Nathaniel P. Claridad. The production was seamless, and each scene and musical number was captivating and clear. Everything came together to create a fun, upbeat, and charming production.

Petite Rouge: A Cajun Red Riding Hood is sure to delight audiences of all ages. I attended with my five-year-old child and spouse — and all three of us bopped along to every song and giggled with delight at Claude’s antics. This is a show not to miss.

Running Time: Approximately one hour, without intermission.

Petite Rouge: A Cajun Red Riding Hood plays through February 8, 2025, at Imagination Stage, 4908 Auburn Ave, Bethesda, MD. Shows are Saturdays and Sundays at 1:00 and 4:00. Special holiday week performances are December 26 and 27 at 11:00 and 2:00, December 28 and 29 at 1:00 and 4:00, December 20 at 11:00 and 2:00, and December 31 at 11:00. Tickets ($12 and up) can be purchased online, in person at Imagination Stage’s box office, or by calling the box office at 301-280-1660.

Best for ages 5+.

COVID Safety: Masks are optional.

Petite Rouge: A Cajun Red Riding Hood
Based on the book Petite Rouge by Mike Artell, illustrated by Jim Harris
Book, Music, and Lyrics by Joan Cushing
Directed by Nathaniel P. Claridad

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The Jungle Book, based on the stories by Rudyard Kipling, is a work that Washington National Opera commissioned for young people both as audience members and as performers.

In their welcome letter to the audience, General Director Timothy O’Leary and Artistic Director Francesca Zambello state:

We want the kids’ first encounter with opera to make an impression, so we make sure they are working with artists at the top of their game. They rehearse and perform alongside members of our acclaimed Cafritz Young Artists Program and members of the WNO Orchestra…. [N]o matter what path they pursue in life, they will leave the experience with an appreciation for the hard work—and great reward—associated with artistic creation.

This production was filled with color and movement (set designer, James Rotondo; costume designer, Erik Teague; lighting designer, Amith Chandrashaker). And every adult audience member, whether parent or not, took joy, pride, and a little anxiety in the proceedings.

In its brisk 80 minutes (including intermission), The Jungle Book covers a lot of existential territory that adults sometimes forget children experience intensely. The narrative addresses such questions as:

How can I be safe when the world has such terrors (and tigers!) in it?
How do I secure to myself the protection of the tribe that I find myself in when I am the only one of my kind in this tribe?
How can I be useful, or important, to the tribe?
How do I get my tribe to love me?

One day, while playing at the edge of his village, Mowgli was trapped by the tiger Shere Khan. Mowgli’s mother intervened and, to save Mowgli’s life, sacrificed her own, dying at the teeth and claws of Shere Khan. Mowgli becomes an orphaned human cub who seeks asylum in the company of a pack of wolves. While debate about whether to allow Mowgli to remain in the wolf tribe proceeds, Mowgli is indoctrinated into the laws of how to conduct one’s life as a member of the tribe. Learning that there is a red flower that kept Shere Khan from actually entering the village where Mowgli and his mother lived, Mowgli decides to obtain the flower for the protection of the wolf pack. Mowgli returns with the flower just as Shere Khan is in the process of seizing one of the wolf cubs. At the sight of the flower, Shere Khan surrenders. Learning that Shere Khan is only mean because he has no pack of his own, the wolf pack offers the tiger the opportunity to be part of their pack.

The production includes large puppets in an eclectic style that we have become used to since The Lion King. Cast members wear and manipulate parts of the puppets. Floating atop long poles, birds fly through the aisles of the theater. Shere Khan — the tiger — is in three parts: two large legs/haunches and one gigantic head, all brilliantly colored and evocatively operated. There is a monkey that rides on a cycle that is propelled by a human partner pushing the bicycle. The wolf pack is composed of members of the Washington National Youth Chorus, who are joined in this production by members of the Taal Academy of Dance.

Kelley Rourke is the librettist for this opera version. The composer is Kamala Sankaram. Francesca Zambello and Brenna Corner co-directed the production, and Shuchi Buch choreographed. Kipling’s authentic affection for India is filtered through the colonial lens he inherited. The opera, which premiered in a shorter form at the Glimmerglass Festival, infuses Kipling’s story of India with “a sonic environment that draws from Indian classical music traditions” that predate European classical music by hundreds of years.

By including some of the students from the Taal Academy of Dance in the cast, Choreographer Shuchi Buch was enable to bring traditional Indian dance and storytelling forms called Bharatanatyam into the production. This brought the audience and performers into more immediate and visceral contact with the musical-physical soul of the Indian storytelling legacy that underlies Kipling’s tale.

All of the cast members were enjoyable, including Nicholas Huff, who, at the performance I attended, stepped in for Sahel Salam and sang the role of Shere Khan from the orchestra pit, while Antonio Montalvo and Chivas Merchant-Buckman, inhabiting the tiger’s puppet/costume, walked the role onstage.

Also in the cast were Vivian Warren and Anoushka Sharma (alternating as Mowgli), Declan Fennell (Little Brother), Kresley Figueroa (Bagheera), Vivian Goodwin (Hyena), Michelle Mariposa (Raksha), and Sergio Martinez (Baloo).

Washington National Opera continues to expand our idea of who opera is for and whose story gets told. With The Jungle Book, this company maintains its commitment to ensuring that the opera stage reflect a larger world than it has in the past.

Running Time: 80 minutes including a 20-minute intermission.

The Jungle Book played December 13 through December 16, 2024, in the Terrace Theater at The Kennedy Center, 2700 F St NW, Washington, DC.

The program for The Jungle Book is online here.

The Jungle Book
Based on the stories by Rudyard Kipling
Music by Kamala Sankaram
Libretto by Kelley Rourke
Co-Directors: Francesca Zambello & Brenna Corner
Conductor: Stephanie Rhodes Russell

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