Long before Tinder, dating was a complicated mix of happenstance connections, missed phone calls, and the ever-important rules for dates one through five. Add in the baggage that comes from dating in your 30s and 40s — namely, exes and kids — and nerves are at an all-time high. This is the premise of the aptly named Fifth Date by Lori Boyd, now offered by DC’s Nu Sass Productions. A heartwarming ride through attraction and the not-so-quiet voices of anxiety whispering in your ear, this world premiere proves that jumping in with both feet is worth the risk.

Newly acquainted and still awkward, Jil and Ted navigate an all-important fifth date with wine and lasagna. Not quite casual but also not quite serious, it’s the date where things could go either way, and with omnipresent play-by-play commentary, their invisible alter egos work tirelessly to ensure they never forget that. Add in the pre-Y2K vibes of track lighting, answering machines, and Nokia ringtones, this one-act romcom energetically explores what happens when your inner and outer thoughts trip over each other through an evening of romance and vulnerability.

Back out into the dating world for the first time after a hard divorce, Jil, played by Rebecca Ellis, wavers between reaching for a genuine connection and retreating due to her insecurity. As an actress experiencing a streak of bad luck just as her body decides to remind her just how old she’s becoming, Ellis’ Jil exudes a tense and tired outlook on life while also balancing an unshakeably hopeful wish for love.  

Ted, played by Steve Lebens, also hopes that tonight is the date to take things from an intellectual connection to a deeper emotional (or physical!) level. A fifth-grade teacher with a penchant for alphabetization and ironing, Lebens’ Ted is earnest and eager and navigates the story’s events with bright eyes and a warm smile. 

Hanging over the shoulders, quite literally, of the story’s hopeful lovebirds were Jil’s Alter Ego, played by Aubri O’Connor, and Ted’s Alter Ego, played by Terry Heffernan. A steady pulse of absurdity and one-upmanship, this delightful duo settled into a groove as the wine began to flow for their corporeal selves. Heffernan’s Alter Ted kept his energy revved up to 11 pretty much the entire time with a mischievous grin and perpetually arched eyebrow. O’Connor’s Alter Jil delivered enough delightfully witty and casual one-liners to steal the show. Really finding their rhythm together in the latter half, many of my favorite parts of the production came from the Alter Egos’ bickering set against (or sometimes on top of) Jil and Ted’s fifth date on the couch below. 

In a space nestled among the office buildings of Metro Center DC, the creative team at Nu Sass Productions carefully crafted a time capsule Fifth Date world where love is possible even when cellphone service is not. Direction by Lynn Sharp Spears kept a steady flow of energy moving around and through the actors on set, while Intimacy Coordinator Ian Claar grounded the fireworks. Set design by Shiloh Coleman and prop design by Rye Ellis transported you, CD tower and all, back to the 1990s, accented easily by Stephanie Yee’s costume design. Lighting design by Chris Muska cleverly carved out an altered state for the Alter Egos, which they called the Void, amid the normal-life apartment, while sound design by Kathryn Parr made sure we never forgot what decade we were really in.

With this charming flashback of a romcom playing through the middle of November, Nu Sass Productions offers a refreshing and often silly escape from the current stressors of our larger world. Filled with heart and bravery, Fifth Date is a step back in time to the wholesome, quirky loves of the ’90s and ’00s, giving us all something to smile at, laugh about, and cheer for, which, in my book, makes for a pretty successful fifth date.

Running Time: 90 minutes.

Fifth Date plays through November 15, 2025, presented by Nu Sass Productions, performing at the Nu Sass Theatre located at 1100 H St. NW, Washington, DC. Tickets run. For tickets ( PWYW-$25), purchase them online. 

Fifth Date
Written by Lori Boyd
Directed by Lynn Sharp Spears

STARRING
Rebecca Ellis: Jil​
Steve Leben: Ted​
Aubri O’Connor: Jil’s Alter Ego​
Terry Heffernan: Ted’s Alter Ego​
Jessa Whitley-Hill: Jil Understudy
Mark Mumm: Ted Understudy​
Natalia Fyfe: Jil’s Alter Ego Understudy​
Evan Zimmerman: Ted’s Alter Ego​ Understudy

CREATIVE TEAM
Artistic Director: Aubri O’Connor
Producer: Elle Sullivan
Production Manager: Ileana Blustein
Stage Manager: Sara Karako
ASM: Danielle Carter
Light Designer: Chris Muska
Sound Designer: Kathryn Parr
Set Designer: Shiloh Coleman
Costume Designer: Stephenie Yee
Intimacy Coordinator: Ian Claar
Props Designer: Rye Ellis
House Manager: Joe Largess
Marketing: Hannah Wing-Bonica

The post A charming and often silly romcom in ‘Fifth Date’ from Nu Sass Productions  appeared first on DC Theater Arts.

What is the cost of honor? The price of freedom? The responsibility of ambition? From a fictionalized 1960s Harlem, Julius X: A Re-envisioning of The Tragedy of Julius Caesar by William Shakespeare combines the story arc of Julius Caesar with the assassination of Malcolm X and the poetry of today to evocatively plumb the uncertain depths of honor, loyalty, and brotherhood.

Neither a true Shakespearean adaptation nor a historical biography, this bold work reimagines the final days of Malcolm X as a fusion of classical tragedy and Civil Rights era loss. The play opens to reveal that Julius X has risen too quickly and wields too much influence for many in the Nation of Islam (referred to throughout as “the Nation”), sowing division among even his closest allies. It is an uncertainty that quickly grows into fear and tips over the edge into betrayal. One that ultimately costs Julius his life while also cementing his legacy of freedom and justice.

Al Letson’s script seamlessly blends spoken word with rhythm, music, slang, and verse to bring two worlds together — parallel yet separate across culture and time — creating something essential. Opening Folger Theatre’s season, mere months after the 100th anniversary of Malcolm X’s birth, Julius X invites the audience to bear witness and to take part in the struggle for equality and the dream of a better tomorrow.

Returning from a pilgrimage to Mecca with a clear vision of this better tomorrow, Julius X, played by Brandon Carter, carries the weight of legacy and story. Carter’s performance balances Julius’ singular determination with unwavering belief in the common good, even as threats rise. With a thoughtful smile and warm embrace, Carter fully embodies the charisma of both Malcolm X and Julius Caesar. Carter’s Julius shepherds his followers and the audience before him, through the mounting pressures of secession from the Nation by any means necessary — even if that means his death.

Cassius, played by Jay Frisby, uses insecurity and doubt as fuel to stoke the fires of destruction, hoping to prevent Julius’ vision from being realized. Drawn to power but too small to wield it, Frisby’s Cassius is a calculating man with self-aggrandizing aspirations and glitteringly dangerous eyes — luring bigger men to his purpose under the guise of duty and honor.

Caught at the center of this conspiratorial web is Brutus, played by Greg Alverez Reid. A towering man with a deep voice and deeper conscience, Reid artfully unravels as the bloody choice to assassinate Julius X is made. Deftly expressing Brutus’ moral agony, Reid allows audiences to viscerally feel the friction between his deep love for Julius and the nauseating cost of duty, which is corrupted by his bloody hands.

Equally loyal and plagued by grief but on the opposing side, Marc Anthony, played by Jonathan Del Palmer, personifies consequence and vengeance throughout the production. With sharp words and soft shoulders, Del Palmer’s Marc Antony stirs the hearts of his fellow Harlemites toward collective liberation and fiery action.

Swept up in this storm of heartbreak and sacrifice were Calpurnia, played by Nikkole Salter, and Portia, played by Renee Elizabeth Wilson. Wives to Julius X and Brutus respectively, the two lay bare the heavy emotional cost of the fight for justice in a world that granted them neither power nor security. Salter’s Calpurnia displays regal stoicism and tender grace, while Wilson’s Portia flames bright with passion and alarm.

Circling the story’s events were Cinna (and Black Soothsayer) played by Gaelyn D. Smith, Addara played by Lilli Hokama, Octavius (and Marullus) played by Shawn Sebastian Naar, and Casca (and Flavius) played by Dwayne Alistair Thomas. Together, these four gave further dimension to the swirl of loyalty, dissent, drama, emotion, fear, and belief that frayed the once-solid community at center stage — be it through wail, dance, chant, or mere presence.

These top-notch performances are all made possible by the finely-tuned work of a spectacular creative team. Direction by Nicole Brewer and choreography by Shawn Short opened up space for the characters and audience alike to fully participate in the story, inviting all to jump heart-first into questions of dignity and justice. Scenic design by Jonathan Dahm Robertson seamlessly melds the halls of Rome with the heart of Harlem, centered around the cultural dais of the front stoop. Projection design by Andrés Poch produced a transporting tapestry of textures, movement, and morality.

Thom J. Woodward’s sound design fully immerses the audience into a lively surround sound of questions, chaos, and sorrow. Lighting design by Porsche McGovern cleverly uses color and intensity — from flickering streetlights overhead to fractured gashes of light on the stage floor — to guide the story from camaraderie to vengeance. Similarly, costume design by Danielle Preston skillfully walked the line between 1960s America and the internal turmoil of each character, both (d)evolving as the tragedy unfolds.

With searing clarity and contagious courage, Julius X: A Re-envisioning of The Tragedy of Julius Caesar by William Shakespeare at Folger Theatre is a production that magnifies collective struggles and unearths individual conflict within two parallel tragedies while making a wholly new story for our times.Amid today’s continuing calls for and threats against justice, Julius X is a critical reminder of the power of community, the cost of fear, and the necessity of action to make our wor(l)ds whole.

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

Julius X: A Re-envisioning of The Tragedy of Julius Caesar by William Shakespeare plays through October 26, 2025, at the Folger Theatre in the Folger Shakespeare Library, 201 East Capitol Street SE, Washington, DC. Accessible performances and related programming will be offered throughout the run of the production and are listed on the show page. Tickets ($20–$90) are available online, by calling the Folger Box Office at (202) 544-7077, or through TodayTix.

Credits for the cast and creative team are online here.

Julius X: A Re-envisioning of The Tragedy of Julius Caesar by William Shakespeare
By Al Letson
Directed by Nicole Brewer

Children under the age of 4 are not permitted.

SEE ALSO:
Brandon Carter on Malcolm X and playing ‘Julius X’ at Folger (interview by Andrew Walker White, September 17, 2025)
Folger Theatre announces cast and creative team for ‘Julius X’ (news story, August 26, 2025)

The post ‘Julius X’ at Folger fuses Shakespeare with life and death of Malcolm X appeared first on DC Theater Arts.

A name, but not a face, that most are familiar with took center stage in Mark Twain Live! at the National Theatre for one weekend only. This one-man show created by Hal Holbrook shines a spotlight on a personality synonymous with wit and provocation — a thinker best known for his work as writer, essayist, and humorist of and for the American experience. Calling into sharper focus the peculiarities and contradictions of American politics, society, and human nature, this one-act play has a flair for taking the expected and turning it on its head.

On stage and touring the country for over six decades, Mark Twain Tonight! is a collection of materials curated from Twain’s prolific writings. Adapting and updating to match the times throughout its original run as well as now, Mark Twain Tonight! uses wisdom, wit, and humor that give a clear view not only of Twain but of ourselves.

Taking on the mantle of the performance of Twain and the legacy of Holbrook, Emmy Award winner and Tony nominee Richard Thomas reverently embodied the role. The steady cadence of Thomas’ delivery captured mannerisms that seem only natural for the aging Twain. From his subtle finger flexes to his forward-leaning, backward-bowing strides across the stage, it would be easy to forget that you’re watching a performance at all and instead believe you’ve been transported back in time to a lecture on one of Twain’s countless speaking tours around the country. Here in the historic National Theatre — which opened in the same year Twain was born, 1835 — it felt like the same surroundings, seemed like the same gestures, and looked like the same curving shoulders and absent-mindedly tousled hair, framing sharp and steely eyes that flashed with ferocious intelligence.

Using a gentle pattern, Twain’s soliloquies were laced with a series of characters to better illustrate the morals being explored: A grandpa blessed with a memory so strong that it distracts from the ending of every story, carrying us further from the original tale with every aside. An enactment from Huckleberry Finn and a frightened navigation of family struggle, the evils of slavery, and the realization that sometimes the right and wrong choice leave you feeling the same way, even though the outcomes are different. A haunting ghost story that warns of the cost of cruelty and greed, even from beyond the grave.

As pointed out by Twain “himself,” in 2026, he would be 191 years old, yet many of his humorous musings and cautionary commentary still ring true as though they were added especially for this revival run. From the threat of “the monarchy of the rich and powerful sitting on the throne of the country” where people care more of money than of virtue, to the insidious lie of silence when confronted with matters of moral conscience, there were more than a few moments when you could have heard a pin drop as the audience stilled to take in the eerie accuracy today of words over a century old.

Like the actor and creator core to this play, the creative team of the production approached their responsibilities with intentionality and focus. Subtle direction by creative consultant Michael Wilson built an intentional ramble of movement and pause that wove seamlessly with Brian Prather’s simple scenic design, where not even a match was misplaced or unused. Lighting design by Anthony Pearson and sound design by Shannon Slaton surged and dimmed to match the patter of the performance. Costume design by Sam Fleming and especially wig design by Luc Verschueren completed our time machine to the early 1900s.

Back on the touring circuit for the first time since Hal Holbrook’s passing, Mark Twain Live! at the National Theatre once again shows its enduring relevance to the experience and the challenges of America through the voice of one of our most beloved writers. Whether you’ve known of this play for 60 years or 6 minutes, it’s an experience that slows down time long enough for us to think about our own legacy and the legacy of those we keep alive.

Run Time: 90 minutes, no intermission.

Mark Twain Tonight! played September 20 and 21, 2025, at The National Theatre, 1321 Pennsylvania Avenue NW, Washington, DC.

Richard Thomas in
Mark Twain Tonight!
By Hal Holbrook

SEE ALSO:
Richard Thomas on his return to DC in ‘Mark Twain Tonight!’ (interview by Nicole Hertvik, September 15, 2025)
Richard Thomas to star in ‘Mark Twain Tonight!’ at National Theatre (news story, August 13, 2025)

Broadway at the National announces 2025/26 season (news story, May 8, 2025)

The post ‘Mark Twain Tonight!’ on tour at the National tells of ourselves today appeared first on DC Theater Arts.

Lotus, a college senior slogging through her third semester of COVID university, feels like she is slowly losing her mind. Whether staring down virtual med school entrance exams or the endlessness of the same day, every day, the walls of her small bedroom are closing in. A one-woman show written, directed, and performed by Gigi Cammaroto, Lotus: A Quarantine Story at this year’s District Fringe Festival gives audiences a lot to think about and even more to perceive.

From the perfectly on-theme seats of University of DC, the audience takes on the part of classroom witness and sometime

s lecture participant as Lotus struggles to keep up with the intellectual demands of her course load and the mental toll of the quarantine living treadmill — one where life was so repetitive and the future so just out of reach. A combination of spoken word, movement, and song, this short one-act play delivers a captivating performance. Cammaroto’s storytelling creates a rhythm of life that draws you in, layering the audio from her professors’ lectures with the music from her alarm clock and the spinning monologues of her mind.

For Lotus, the forced isolation is a blessing and a curse. It gives her distance from her future of medical school and graduation, but also from her mother and her social network, including her boyfriend. As the story unfolds, all good and bad seem to slip further and further from her grasp, even as she learns more — taking notes on a large whiteboard and even predicting the lessons of her teachers.

An interesting, intimate retrospective on the isolation and borderline insanity of our collective but separate COVID experience, Lotus: A Quarantine Story is a multi-sensory experience. Asking the audience to look, to see, and to perceive, this small but mighty one-act leaves you considering what you brought with yourself when we were all able to walk out the door again.

Lotus: A Quarantine Story
A solo performance by Gigi Cammaroto

Running Time: 45 minutes
Dates and Times:

• Saturday, July 12, 7:00p
• Sunday, July 13, 4:00p
• Friday, July 18, 9:15p
• Sunday, July 20, 4:15p
• Sunday, July 27, 5:30p

Venue: Phoenix – UDC Lecture Hall (44A03)
Tickets: $15
More Info and Tickets: Lotus: A Quarantine Story

Genre: Solo performance, drama

Written and performed by Gigi Cammaroto.

The complete 2025 District Fringe Festival schedule is online here.
The 2025 District Fringe Festival program is online here.

The post 2025 District Fringe Review: ‘Lotus: A Quarantine Story’ by Gigi Cammaroto (4 ½ stars) appeared first on DC Theater Arts.

It’s opening night for the Cornley Drama Society’s production of The Murder at Haversham Manor, and the troupe of amateur actors is as ready as they will ever be — which is not very. With hopes high and set construction low, they take to the stage, but their dreams of a perfect performance are soon dashed as one thing after another goes terribly and hilariously wrong. The earnest actors try desperately to stay in character, but from missed cues to broken props, the evening soon tumbles into a relentless comedy of errors. Channeling the physical stylings of Monty Python with the spontaneity of Saturday Night Live, The Play That Goes Wrong — by Henry Lewis, Jonathan Sayer, and Henry Shields and directed by Frank D. Shutts II for the Little Theatre of Alexandria — is a delightfully chaotic farce full to the brim with laughs, gasps, and grins.

Leading the community troupe was the Cornley Drama Society’s director and the production’s Inspector Carter, Chris Bean, played by LTA’s Adam R. Adkins. Tightly wound and even higher strung, Adkins’ Chris became synonymous with frustration and exasperation within the show as his directorial debut imploded in spectacular fashion. Determined to maintain control, no matter the chaos, Adkins’ Chris and Inspector were twitchy and very flappable.

Trying desperately and creatively to keep the show going as though nothing was wrong were Robert Grove as Thomas Colleymoore, played by Justin Beland, and Dennis Tyde as Perkins the butler, played by William Wheat. Often sharing the stage together, these two had an entertaining way of playing off one another to find that challenging balance of being a good bad actor. Beland brought a huge presence on stage with gumption to spare and preferred to solve problems with strength and physicality. Wheat locked into the timidity of Dennis and gave a stumbly, stuttery Perkins performance that smoothly grew with confidence over the course of the show, nicely matching his (double) character’s sense of confidence and ownership of the stage.

A huge fan of the spotlight and melodramatic overacting from the very beginning was Sandra Wilkinson as Florence Colleymoore, played by Suzy Alden. With all the exaggerated movements of a soap opera drama queen, Alden’s Florence/Sandra refused to be upstaged and would do anything to keep the spotlight squarely on her. Equally motivated by praise and attention was Max Bennett as Cecil Haversham and Arthur the Gardener, played by Cameron McBride. Easily excitable and willing to ham up anything for audience approval, all of McBride’s characters had a constant impish smirk on their face, thrilled to be noticed and more than willing to go off script to get just a little bit more laughter.

Similarly a fan of playing things up was Jonathan Harris as Charles Haversham (the corpse), played by Andy Izquierdo. Entirely focused on playing dead the best he could, Izquierdo brought a cool, dignified poise to his corpse. He also amusingly stole focus as Jonathan Harris in more than a few unexpected “behind-the-scenes” moments and was comically over-eager to bring the play within the play to its conclusion.

Stepping into entirely unforeseen and absolutely wild situations were Annie Twilloil, a Stage Manager turned emergency actress, played by Sydné Marie Chesson, and Trevor Watson, a Tech Operator reluctantly dragged onstage, played by Jermaine Mitchell. Both layered into the backstage comedy two productions’ worth of ridiculousness simultaneously. Chesson, in particular, showcased Annie on her journey from stage fright to stage love. Slowly gaining confidence through each monotone line, Chesson’s Annie was ultimately bursting with enough joy that it was impossible for her to suppress a smile, even as she battled for her place in the show.

Quite literally responsible for making everything go correctly wrong was the production’s creative team. Front and center was the elaborate and reliably unreliable set by Dan Deisz, Dan Remmers, and Jim Hutzler. Meticulously designed and executed with quirks and defects revealing themselves at every turn, the set is the unsung hero — and active antagonist — of the show. The direction by Frank D. Shutts II and fight direction by Ian Claar orchestrated an energetic swirl of activity as the actors tried to save their opening night. Lighting design by Ken and Patti Crowley and sound design by Alan Wray took equal measure in finding creative ways to go wrong or be bad — from missed cues to incorrect spots. Add in the dialect coaching by Carol Strachan, costume design by Jean Schlichting and Kit Sibley, and hair and makeup design by Natalie Turkovich, and this show-within-a-show had all the absurd layerings of earnestly amateurish shenanigans.

Playing through June 28, The Play That Goes Wrong at the Little Theatre of Alexandria is a fast-paced whirlwind of chaos that will keep you laughing at the absurdity, gasping at the physical gags and surprises, and smiling at the creativity it takes to be oh-so-very bad on purpose. A sturdily executed portrayal of a disastrously unstable performance, it is also a celebration of all sides of live theater and the enduring resilience of the arts. Especially now with a world that feels like a play going wildly off-script, this beautiful mess is also the perfect comedic release for our DMV community — and a reminder that no matter what, the show must go on.

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

The Play That Goes Wrong plays through June 28, 2025 (Thursdays–Saturdays at 8 pm, Sunday matinees at 2 pm), at The Little Theatre of Alexandria, 600 Wolfe Street, Alexandria, VA. To purchase tickets ($29, reserved seating), go online or contact the Box Office via phone (703-683-0496) or email (boxoffice@thelittletheatre.com).

The program for The Play That Goes Wrong is downloadable here.

The Play That Goes Wrong
Written by Henry Lewis, Henry Shields & Jonathan Sayer
Produced by Russell M. Wyland and Zell Murphy
Directed by Frank D. Shutts II

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Dead center of the Black Bottom neighborhood in 1949 Detroit is a local jazz club — The Paradise Club. The heart of a vibrant Black community, the Club soon becomes a battleground of clashing dreams as Blue, his musicians, best girl, and new-to-town tenant are caught up in a swirl of ambition, memory, love, and survival. Paradise Blue by Dominique Morisseau, under the direction of Raymond O. Caldwell at Studio Theatre, is a haunting and poetic jazz-infused drama that is a thrilling combination of bittersweet and melancholy, sharp and fast, strong and soft. In a world of music and longing, Paradise Blue explores the cost of holding on and letting go.

Having inherited the Paradise Club from his late father, owner and lead trumpet player Blue, played by Amari Cheatom, is a troubled man. Both being chased by the terrors of his past — the source of his sound — and chasing his music as a release to the suppressed pain he cannot articulate, Cheatom’s Blue was unsettlingly unsteady. What started as confidence soon dissolved into twitches, forced fleeting smiles, and haunted dark eyes; Cheatom unraveled with chilling erraticity. With a frighteningly desperate need for control and an escape from unresolved traumas, he set the audience perfectly at unease — lingering like the sharp unresolved chord at the end of a jazz set.

Soothing Blue’s erratic and knitted brow (as well as soothing everything else at the Club) was Pumpkin, played by Kalen Robinson. A soft, caring woman who finds solace in the music of poetry and in the family she’s built from the community of Paradise Valley, Robinson’s Pumpkin was the glue of the production. Robinson’s skillful nuancing of Pumpkin’s calming and nurturing energy allowed for her to be equal parts refuge and prison as she began to look inward into what she wants out of life and outward into what her life has become. Slowly finding value in herself more than in the service she provides to other people, her journey to self-worth and agency was thoughtfully crafted and beautifully executed.

Similarly playing the role of peacemaker was the Club’s pianist, Corn, played by Marty Austin Lamar. A towering figure built of soft shoulders, nimble hands, and a broad smile, Lamar’s Corn had a gravity to him that settled spirits and warmed souls. Whether working with Pumpkin on her voice or talking down the demons that only Blue could hear, the steady Corn was always good for an easygoing laugh and a sigh of relief when tensions or emotions ran high.

Often, the source of tension was the recently arrived, and the not-so-recently widowed, Silver, played by Anji White. A confident and tough woman-of-the-world who goes after what she wants and aggressively protects what is hers, White’s Silver was fire personified: beautiful, fast, and deadly. A powerful woman both out of necessity and inherent inner strength, White’s Silver was the production’s powerhouse as she refused to play by the old rules and, for me, the most mesmerizing in forcing hidden tensions to surface.

Equally emotionally charged were the highs and lows of the Club’s percussion man, P-Sam, played by Ro Boddie. Handsome, charming, and a passionate mixture of hotshot and hothead, Boddie skillfully infused Sam with the righteousness of youth. Viewing the Paradise Club as not just a gig or an artistic outlet, Boddie’s Sam clung to the brick walls and the resilient heritage it represented as a lifeline in a world rapidly changing and yet going nowhere fast.

Key to creating the environment of this theater noir was the standout production team at Studio Theatre — literally transforming the Victor Shargai Theatre into the Paradise Club, with tables and chairs and a real bar. Direction by Raymond O. Caldwell orchestrated an enthrallingly frenetic current of energy, emotion, words, and action, electrically complemented by Intimacy Coordinator Sierra Young and Fight Choreographer Robb Hunter. The tactical and immediate set design by Lawrence E. Moten III allowed the audience to play both patron and ghost watching the tumultuous week unfold, and the lighting design by Keith Parham flickered and dimmed along with this production’s heart-stoppingly immersive staging. Musical direction by William Knowles and sound design by Matthew M. Nielson, along with musicians Michael A. Thomas (trumpet) and Mark Saltman (bass), wove together a soundtrack that caused your soul to relax and your pulse to race.

From the physical space where Studio Theatre sits at the historical epicenter of Black culture in DC to the narrative epicenter of Black Bottom in 1949 Detroit, Paradise Blue is impeccably aware of where it is in time, space, and message — the power of which feels more relevant with each passing day. Paradise Blue at Studio Theatre engulfs you in a raw urgency and mirrors back the hope for home, the refuge in music, the safety of agency, and the curse of legacy that drives its world. The sheer complexity of it doesn’t allow for easy answers or tidy resolutions. Instead, it immerses you in dissonant dreams, inviting each person who walks into the Club to witness, laugh, and shudder at the truths we confront and the choices we make — or fail to make.

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

EXTENDED: Paradise Blue plays through June 22, 2025, in the Victor Shargai Theatre at Studio Theatre, 1501 14th Street NW, Washington, DC. For tickets (starting at $55), go online, call the box office at 202-332-3300, or email boxoffice@studiotheatre.org. or visit TodayTix. Studio Theater offers discounts for first responders, military servicepeople, students, young people, educators, senior citizens, and others, as well as rush tickets. For discounts, contact the box office or visit here for more information.

The program for Paradise Blue is online here.

Warnings: This production of Paradise Blue includes the use of explicit language, herbal tobacco, haze, and gunshots.

COVID Safety: All performances are mask-recommended. Studio Theatre’s complete Health and Safety protocols are here.

The post Haunting and thrilling ‘Paradise Blue’ engulfs you at Studio Theatre appeared first on DC Theater Arts.

Armed with half of a locket and a whole lot of hope, 11-year-old orphaned Annie is determined to escape her miserable New York City orphanage and find the parents who left her behind. Along the way, Annie crosses paths with a lovable stray dog, a billionaire, and a city full of surprise as her sunny outlook and determination help lift the spirits of those around her. A perennial favorite for its optimism, energy, and heart, Annie — book by Thomas Meehan, music by Charles Strouse, and lyrics by Martin Charnin on tour this week at the National Theatre — is a joyful production reminding us that sometimes, the family we find can be even more powerful than the one we lose.

Taking on the iconic red-head was Hazel Vogel as Annie. With a clear, sharp voice and empathy beyond her years, Vogel settled in nicely to the perpetually hopeful and energetic pulse at the core of the character, without becoming sugary or overplayed. She rightfully owned center stage in “Tomorrow” with the steady command of an actor three times her age and showed considerable nuance in the great hall of the Warbucks mansion during “I Don’t Need Anything But You.” But her rendition of “Maybe” — where the quiet wish of a song allowed her to pull back from the forward nasal style we’ve come to synonymize with Little Orphan Annie — was really my favorite and has been stuck in my head ever since.

Determined to keep Annie from her happy ending, and actively self-medicating her own self-pity with vodka and soapy radio programs, was the deliciously bitter Miss Hannigan played by Stefanie Londino. Hands down my favorite performance of the production, Londino’s Miss Hannigan was perfection that dripped with comedically jaded (self-) loathing, even into her whistle sputtering out with spiteful resignation to her fate. “Little Girls,” in particular, was masterful in its portrayal of twisted hopes and cracked hysteria in response to what’s become of her life.

That is until good-for-nothing, con artist of a brother “Rooster” Hannigan, played by Rhett Guter, and his new dame, Lily St. Regis, played by Isabella De Souza Moore, stop by. Guter as “Rooster” dialed in a perfectly twitchy and volatile demeanor that left you both intrigued and unsettled, while De Souza Moore’s Lily refreshingly played the airhead without the dumb — flipping in and out of her “maternal” guise with chilling efficacy. All three characters added up to a manipulative trio that meant nothing but trouble for them and everything for the audience, making “Easy Street” and its reprise highlights of the evening.

Trapped but defiant under the awful control of Miss Hannigan were six other orphans — Molly played by Olive Ross-Kline, Pepper played by Aria Valentina Aldea, Duffy played by Nora West, July played by Anna Dillon, Tessie played by Kylie Noelle Patterson, and Kate played by Eva Lizette Carreon. With enough energy to have powered every lightbulb in the city, this merry bunch gave it their all to charming effect. From “It’s the Hard Knock Life” to “You’re Never Fully Dressed Without a Smile,” these young actresses were laser-focused on the task at hand and delivered with flair.

The elegant hand of fate whisking Annie away from her Hard Knock life was Mr. Oliver Warbucks, played by Christopher Swan, and secretary Grace Farrell, played by Julia Nicole Hunter. An elegant pair representing the finer things in life, these two were drawn to Annie (and a bit to each other), particularly in “N.Y.C.” as they broke out of business-as-usual to show Annie all the wonders that the city has to offer. While Swan’s Warbucks was warm, secretly unsure, but eventually fatherly (with a Louis Armstrong meets Frank Sinatra tone on full display in “Something I Was Missing”), it was Hunter’s Ms. Farrell who really captured my attention. Her bright, powerful soprano (which often reminded me of Laura Benanti but with even higher wattage ping) — particularly in “I Think I’m Gonna Like It Here” — and posed, capable presence made her someone I consistently found myself watching even when she was not the focus of the scene.

Speaking of the truly stellar scene work, the ensemble — Anthony DaSilva, Savannah Fisher, Alloria Frayser, Matt Gibson, Caroline Glazier, Danny Lindgren, Ryan Mulvaney, Joel Newsome, Melinda Parrett, and Drew Tanabe — were just delightful to watch in every one of the many characters they embodied. As though feeding off of each other’s energy and bringing out the play in each moment, the entirety of this cast had a palpable chemistry — the kind that brings out the best work in each other. It has been a long time since I’ve seen a touring production where the depth of cast connection and character embodiment goes so deep that it was steeped in every moment of every actor on stage. Add in the paw-satively perfect performance of labradoodle Kevin as mutt-turned-pet Sandy and the evening was a delight.

An energetic spectacle was made possible by the talented creative team behind this touring production. Direction by Jenn Thompson made sure that every moment was topped with a flourish or met with a poignant pause. Scenic design by Wilson Chin was quirky and playful, as highlighted by lighting design by Philip S. Rosenberg, allowing the story to span from rundown city streets to opulent mansion halls with whimsy. Choreography by Patricia Wilcox deftly threaded the rhythm of the era with the underlying social upheaval of the Great Depression, and costume design by Alejo Vietti set off said movements with a whirl. Admittedly there were some mic issues throughout the production (it was almost too hard to hear Miss Hannigan over the orchestra in “Little Girls” while Annie’s mic for every scene was considerably louder than everyone else’s, for example), but the sound design by Ken Travis for the rest of the production was lushly atmospheric. Add in hair and makeup design by Ashley Rae Callahan and dog training by Charlotte Woertler and it all culminated in a world of energy, struggle, and hope.

Playing for one week only, the U.S. tour of Annie at the National Theatre is the dose of optimism that DC desperately needs as the show celebrates the family you find along the way, the home you make with those around you, and the power of hope, even in the face of seemingly insurmountable odds. With the promise that the sun will come out tomorrow, this production helps you forget your troubles for a few moments because, after all, tomorrow is only a day away.

Running Time: Two hours and 30 minutes, including one 20-minute intermission.

The national tour of Annie plays through April 20, 2025, at the National Theatre, 1321 Pennsylvania Ave NW, Washington. Tickets (starting at $49) are available online, at the box office, or by calling (202) 628-6161.

The cast and creative credits for the touring production are here and here.

Annie is a theatrical production recommended for ages 4 and up. Children under the age of 4 will not be admitted.

Enter the Digital Lottery for a chance to purchase $29 tickets to Broadway at The National shows. Learn more here.

COVID Safety: Masks are strongly recommended but not required for all ticket holders. For full COVID protocol, go here.

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On the run after witnessing a murder, singer and aspiring disco queen Deloris Van Cartier finds herself in the witness protection program at a local convent. Restless and restricted by her new life (habit), Deloris as Sister Mary Clarence joins the convent’s struggling choir and, with the boost of some joyful noise and a whole lot of glitter, helps the sisters as well as herself find a voice. Based on the 1992 hit movie and reimagined for 1970s Philadelphia with original music by Alan Menken, lyrics by Glenn Slater, and book by Cheri Steinkellner and Bill Steinkellner, Sister Act at Ford’s Theatre is a celebration of self that proves that sometimes the journey of uncovering who you are brings you to places and to people you’d never expect.

The star herself, Deloris Van Cartier aka Sister Mary Clarence aka Nia Savoy-Dock was a proud, confident, in-your-face Philly diva. Inescapable and unmissable, Savoy-Dock’s Deloris owned the stage. With a wide and bright vibrato that, when opened up to her full vocal power, reminded me of Jennifer Hudson, Savoy-Dock brought self-assured defiance to every song, but in particular, “Fabulous, Baby!” and “Sister Act.” At the same time, Savoy-Dock was able to blend her distinct voice into the larger ensemble scenes with the convent choir. Much like Deloris lending the confidence of her voice to the sisters, so too did Savoy-Dock’s full sound build out larger group songs, like “Bless Our Show” and “Sister Act (reprise).”

Often at odds with Deloris was Mother Superior played by Sheri L. Edelen. Even though battling what sounded like a sore throat during the performance I saw, it was clear that Edelen’s resonant alto packed a powerful punch with some impressive depth and a rich, warm tone that rang to the rafters — on full display in “Here Within These Walls.” What was puzzling to me, though, either through the choice of the book, actor, or director, was the severity to which Mother Superior was represented — so much so that I caught myself wondering if she was now the second villain in the story. Moments such as “I Haven’t Got a Prayer” or in the lead-up to “The Life I Never Led (reprise)” were played so straight and serious that Mother Superior came off as irredeemably mean and nastily judgemental rather than as affectionately flabbergasted. A shift to lean into the comedy of misunderstanding would aid the believability of their eventual reconciliation.

Always in Deloris’ corner was Sergeant Eddie Couther played by Joe Mallon. This high school crush all grown up glowed with the loyalty and adorable enthusiasm of a golden retriever. Mallon’s Eddie brought a charming level of awkward and masterfully balanced physical comedy to every stutter and stumble. Combined with his Brian D’arcy James-esque tone in “I Could Be That Guy” and “Fabulous, Baby! (reprise),” this was a budding romance that you couldn’t help but be instantly rooting for.

Similarly filling the production with hope on her own journey of discovery was postulant Sister Mary Robert played by Kanysha Williams. In another absolute standout performance, Williams gradually and consistently grew Sister Mary Roberts with admirable finesse — timid and mute blossomed into determined and a bit rebellious. Adding in her absolutely phenomenal rendition of “The Life I Never Led” and it was inescapably clear that Williams was one to watch.

The rest of the sisters also brought their own flair and exultation to the production throughout. The exuberantly kind Sister Mary Patrick played by Caitlin Brooke, the endearingly grumpy Sister Mary Lazarus played by Debbie Mobley, the spacy but wise Sister Mary Martic of Tours played by Sarah Corey, the ancient but still grooving Sister Mary Theresa played by Karen Vincent, as well as Simone Brown (also playing Michelle), Kecia Deroly (also playing Tina), Ayanna Hardy, and Justine “Icy” Moral all filled the stage with such joy and the type of (newly) unbridled fun that was infectious. Sunday morning services ”Raise Your Voice” and “Sunday Morning Fever” in particular showcased the distinct personalities of each sister. Not to be left out of the catholic chic, was Monsignor O’Hara played by the lively Lawrence Redmond. An early convert to Sister Mary Clarence’s unconventional ways, I was often looking for what he would do next.

Equally goofy and often bumbling were the henchmen of mob boss Curtis Jackson played by Derrick D. Truby Jr. The perfect example being while Truby silkily, dangerously crooned about all of the ways he was going to make Deloris disappear (pretty graphically, I might add) in “When I Find My Baby,” the three of them — Pablo played by Dylan Arrendondo, TJ played by Trenton McKenzie Beavers, and Earnie played by Ryan Sellers — boogied their backup singer hearts out in a way that would have made the Dreamgirls proud. A similar playfulness in the ridiculously premised “Lady in the Long Black Dress” brought out each of their “romantic sides,” allowing for all three actors to shine. A special shoutout to Arrendondo, though, for committing through to the tips of his fingertips in every dance move in every moment, be he henchman or altar boy.

Not to be outdone, the enthusiasm on stage was also reflected in the work of the artistic team. Director and choreographer Jeff Calhoun took full advantage of the many entrances and exits, doorways and walkways, and the music direction by William Yanesh kept the production dancing regardless of whether there was a stand-alone musical number or not. The striking scenic design by Paige Hathaway, layered with lighting design by Max Doolittle and sound design by David Budries, made for a multifaceted chameleon of a stage, cloaked in creativity and adaptability. Add in the flashy costume design by Ivania Stack and hair and make-up design by Kelley Jordan and the 1970s world of Philadelphia was as out of sight as the disco balls in the balcony of the theater.

Silly, fun, and joyful, Sister Act at the historic Ford’s Theatre is unapologetic in its celebration of self, choice, and sisterhood. The type of break from reality that the DMV could use right now, this production, playing through May 17, is an invitation for us all to find our voices and just be Fabulous, Baby!

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

Sister Act plays through May 17, 2025, at Ford’s Theatre, 511 10th St NW, Washington, DC. Showtimes: Mondays-Thursdays at 7 p.m.; Fridays-Saturdays at 7:30 p.m.; Fridays-Saturdays at 12 p.m. or 2 p.m. Tickets range from $48–$90 and can be purchased online. Discounts are available for groups, senior citizens, military personnel, and those younger than 40. For more information, call (202) 347-4833 or (888) 616-0270 (toll-free).

Ford’s accessibility offerings (audio-described, ASL-interpreted, sensory-friendly) include closed captioning via the GalaPro App.

The cast, creative team, and band credits are here, and a digital program is online here.

COVID Safety: Face masks are optional.

SEE ALSO:
Ford’s Theatre announces cast and creative team for ‘Sister Act’ (news story, February 5, 2025)

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Gathering after the death of a beloved patriarch, the close-knit Jenkins family soon finds his funeral to be more than just a celebration of life and legacy. As their collective grief brings to the surface challenging secrets and strained relationships, Chicken & Biscuits by Douglas Lyons finds laughter and vulnerable stillness through deeply human stories and storytellers. Playing through April 6 at NextStop Theatre Company, this production under the direction of Rikki Howie Lacewell is a heaping serving of Black family life, traditions, and joy that invites you to pull up a chair and finally share what’s on your heart.

Carrying much of the pressure is the eldest and now “head” of the family, Baneatta, played by Bruni Herring. Married, tenured, and with two grown children of her own, Herring’s portrayal showed the weight of generational cycles and the cracks that that heaviness slowly but surely caused in her seemingly picture-perfect life. No longer able to use her accomplishments as armor, Baneatta’s loss of control often caused her to lash out like a child — like the one she was never allowed to be when she was younger.

Supporting his wife through this tremendous life shift while also taking over the pulpit from his father-in-law at their church, Reginald, played by DeJeanette Horne, brought a lively balance of comedic relief, soul-stirring motivation, and steady calm to the production. Determined to keep legacy alive, Horne’s sermon in particular was an incredible exercise in pacing and energy. Even in the small act of welcoming Brianna played by Bianca Lipford to the microphone showcased the comfort Horne’s Reginald provides his family, leading through action and faith.

Grown eldest daughter of a grown eldest daughter, Simone, played by Sirra Faal, also took on much of the play’s mantle of pressure and responsibility. Like mother like daughter, Faal’s Simone fought to overthrow the expectations placed on her by herself and by society — in a performance that crackled with energy and intelligence.

Where Simone struggled with perception, son Kenny, played by Ira F. Coats Jr., grappled with his dual identities as a Black man and as a gay man. Often tempted to revert to a closeted version of himself, Coats’ Kenny skillfully vacillated between his equally strong desires to be recognized for who he is, to honor the grandfather who cherished his happiness, and to stand with his partner — Logan, played by Ben Ribler — the reason for much of his happiness. Trying to be supportive in unfamiliar circumstances, Ribler’s Logan was endearingly awkward and often enthusiastically mistimed, punctuating the story with moments of release and laughter.

Last but certainly not least, the boisterous mother-daughter duo of Beverly, played by Brianna Nobles, and La’Trice, played by Amari Chambers, were the queens of uproarious laughter and unapologetic joy in the production — taking every moment as a chance to play and shine with enough personality to fill the heavens. Nobles’ Beverly was confident, short-fused, and a straight shooter who instantly charmed (and disarmed) the audience. But it was Chambers who really stole the show for me as the self-assured La’Trice. A force of teenage attitude that demanded to be respected and reckoned with, Chambers’ portrayal had the immortality and immaturity of a nearly 16-year-old balanced to perfection.

As I’ve come to expect from the NextStop Theatre Company’s creative team, Chicken & Biscuits delivered another clever staging — this time to place the audience in the literal seats of the congregation for this lively and enlivening funeral. More often than not, the fourth wall was entirely removed, and audience members were outright encouraged to participate, be it through a laugh or a hearty “Amen.” Scenic design by Jack Golden, lighting design by Hailey LaRoe, and sound design by Janice Rivera built a world that was both sacred and warm, while costume design by Imari Pyles and prop design by Marty Bernier layered in the nuance of modern, multi-generational Black American life.

Simultaneously asking how we can start again and inviting us to take one deep breath, Chicken & Biscuits at NextStop Theatre Company creates the kind of laughter that warms your soul as much as it propels you forward. With purposeful intention, this production reminds us to create space for connection, poke at imperfection, and gather around the table for the kind of healing magic that is only possible when the whole family is together.

Running Time: 90 minutes with no intermission.

Chicken & Biscuits plays through April 6, 2025, at NextStop Theatre Company, located at 269 Sunset Park Drive in Herndon, VA. Tickets, priced at $45 with a $2 convenience fee, are available for purchase online or by calling the box office at (703) 481-5930 x1. For more information, email BoxOffice@NextStopTheatre.org.

A digital program is available here.

Post-Show Talkback: March 23 – A Discussion on Family Trauma and Healing with Director Rikki Howie Lacewell and Licensed Professional Counselor Valerie Patton.

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Life is filled with inflection points that challenge us to reaffirm, choose, or create who we are time and time again. In the case of the three women of the Kirby family, that means three inflection points at the same time. High school senior Becca Kirby balances endings and beginnings as she runs for class president to prevent the banning of books. New college graduate Abby Kirby strives to prove herself at her first job while confronting the contradictions and degradations of corporate America. And soon-to-be empty-nester Kate Kirby is faced with rediscovering herself after decades of putting others first. Woven together in an original book by Sharen Camille featuring the music of New York power pop/rock band Iridesense, Got It Good by the Bethesda Little Theatre considers the moments, choices, and beliefs that add up to who we become and what we stand up for.

A single mother trying to make it through and be there for her girls, Kate Kirby, played by Maureen Freshour, was a consistent presence of support, love, and guidance. With her clear, compassionate voice that reminded me of Carole King, you could tell that Freshour was a maternal figure on and off the stage for this production. She was also responsible for more than a few humorous moments, particularly in “Nice Try” as she churned through a cycle of cringe-worthy first dates and in “Fantasies” as she refocused herself on dreams for the future. Also responsible for the choreography of the show, Freshour looked for opportunities to move within each moment.

The eldest daughter, Abby Kirby, played by Payton Woodruff, brought a soft and sometimes self-sacrificing enthusiasm to the character. With a sweet innocence that instantly reminded me of Mandy Moore, Woodruff’s face shone, and her smile radiated to the back of the black box theater. Often at her side were friends Crush, played by the never-too-over-the-top Susanti Rodgers, and former (or should I say current) flame, Charlie, played by the mild-mannered John Lynch. Whether giving each other a supportive push as in “Lately” with Crush and Charlie or shoulder as in “Voice of Reason” with Abby and Charlie, this trio offered windows into the highs and lows of figuring out how to stand up for what you want and what you believe in within the working world.

Matching the sisterly struggle, but from within the confines of high school, was Becca Kirby, played by Charlie Tell. Deeply concerned by the efforts of the school board and her fellow classmates to ban a list of books from the school library, Becca takes matters into her own hands to protect access to all ideas and stories, no matter how challenging — as on particular display in “Believe” and “My Revelation.” Not without risk and consequences, she navigates the challenges of senior year with best friends Lola, played by the vivacious Beatrice Ieronimo, and Liam, played by the snappy Joshua Pinchback. Also, walking the high school halls were antagonist Cooper, played by Audrey Mollo, and voice of caution Toni, played by Jenny Gleason. Each brought solid performances that added depth and ideological counterpoints to the questions of the Kirby women.

Together with the rest of the cast — Dr. Arthur Glover (Stevie), Stephanie Levin (Diane), Amanda Rollins (Aubrey), and Caroline Smith DeWaal (Julia) — the ensemble gave it their all to add heart and energy to opening night. This was best on display during the striking and unsettling “Mind Control Society.” From inside the soul-crushing corporate conference room, the direction by Sharen Camille, lighting design by Matthew Cheney, and choreography by Maureen Freshour easily made for the most memorable scene in the show, recoiling from the ways corporate America treats people and the environment in pursuit of profits.

Music director Paul Rossen allowed for this creative take on a jukebox musical to test out its rhythm for the first time in front of an audience, one where characters could process their circumstances through the external music of Iridesense, as opposed to traditional musicals that rely on plot advancing musical numbers that begin from within. In Got It Good, the songs served as meditative moments for characters to further sit in and process where they are and what they are feeling.

Asking if we will walk the straight or crooked line in life (“The Line”), Got It Good by Bethesda Little Theatre is an example of the heart of what community theater does: create spaces for experimentation and exploration of the choices of life no matter how messy or imperfect. In the current cultural moment — where the enormity of upheaval, division, and harm seems overwhelmingly unjust — the ideas within Got It Good act as a reminder of the power of raising your voice in service of what you believe in and encourage moments of community and individual action as constructive outlets for frustration, anxiety, and fear. “Be the change you want to see in the world,” as the Kirby motto says, is an invitation to all of us — you never know who you might inspire, support, and become along the way.

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

Got It Good plays through March 2, 2025 (Fridays and Saturdays at 8 pm; Sundays at 2:30 pm), presented by the Bethesda Little Theatre performing at the Writer’s Center (4508 Walsh St, Bethesda, MD). Purchase tickets ($28 for adults; $22 for seniors, military, and students; $18 for children) online. For more information, call 202-796-3431, email bethesdalittletheatre@gmail.com, or go to Bethesda Little Theatre’s website.

SEE ALSO:
Bethesda Little Theatre to present original musical about power of family, friends, and finding yourself (feature by Kaitlyn Gibbens, February 14, 2025)

The post Raised voices power Bethesda Little Theatre’s new musical ‘Got It Good’ appeared first on DC Theater Arts.

Raising voices and pointing toes exuberantly in song this holiday season, the Gay Men’s Chorus of Washington, DC (GMCW) presents The Holiday Show — their annual holiday extravaganza — at the Lincoln Theatre. Under the baton of Artistic Director Theo Kano, Associate Conductor C. Paul Heins, and Assistant Conductor Ronté Pierce, this festive evening is a cheery antidote to the cold winds of the last few weeks.

Celebrating holiday music and traditions from all around the world, this year’s Holiday Show also acts as a preview for their International Choral Festival coming to DC in June 2025 for the World Pride Festival. Singing in Spanish and Hebrew, Yoruba and Tagalog, this year’s set was joyful, playful, and delightfully thoughtful.

From the loud and boisterous “Christmas Isn’t Christmas ‘Til You Get Here,” “Betelehemu,” and the entertaining “TeXmas Hold ‘Em” to the mindful and still “Silent Night” and “See Amid the Winter’s Snow/Lo How a Rose,” The Holiday Show showcased the full range of the season with enough energy to turn any Grinch or Scrooge into a holiday fan. Additional standouts were the charming “Hanukkah Rhapsody” with soloists Alex Domini and Will Prater and the touching “Love Is Christmas” with soloist Valerie Flores.

Adding dimension (and often cheekiness) to many of the numbers were the dancers of 17th Street Dance. Sometimes, Santa and his reindeer broke out the tap shoes; sometimes, there was matching flannel and some impressive glove work, and other times, the chaps were on full display to mischievous hoots and hollers from all. The gracefulness of “Paso Na Sinta Ko” and the coordination of “Ang Pasko Ay Sumapit” were also great to watch, adding fun layers to the voices of the chorus.

All of the GMCW’s small ensembles of the chorus also featured in the concert experience. The GenOUT Youth Chorus, with “Sanna Sannanina” and “I’ll Be Home for Christmas,” shone with enthusiasm and harmony. The acapella Potomac Fever performed “My Grown-Up Christmas List,” with solos by Gia-Ninh Chuang, Jay Malavé, and Cooper Westbrook, and ended in laughter with the always enjoyable Straight No Chaser adaptation of the “12 Days of Christmas/Africa” (soloists Steven Shi, Shawn Morris, Kevin Thomason, and Jack Marsh) guaranteed to make you smile. Rock Creek Singers presented the contemplative “Cold Moon” and the phenomenal Seasons of Love brought down the house with “Give Love on Christmas Day” (soloist Gabriel Lopez) and “Now Behold the Lamb” (with solos by Chris Murphy and Freddie Quimbley).

Ensuring that the spectacle sparkled as brightly as possible was the creative work “behind the scenes.” Production design by Chipper Dean, lighting design by Solomon HaileSelassie, costume design by Jeffery Hollands, and choreography (even choral-ography) by Danny Aldous, Craig Cipollini, James Ellzy, and Matt Zagorski all added flair and fun to the performance. Equally important were the musicals of the World Music Collective, starting the evening off with a wonderful pre-concert set, with concert instrumentalists Theodore Guerrant on piano, Arnold Gottleib on bass, and Danny Villanueva on percussion.

Playing for only one more weekend, The Holiday Show by the GMCW is absolutely a merry way to keep this holiday season bright.  A celebration of love, home, peace, and community at a time when the world needs more of exactly that, The Holiday Show compels you to open your heart, your ears, and your arms to those around you.

Running Time: One hour and 45 minutes, no intermission.

The Holiday Show plays December 14 and 15, 2024, presented by Gay Men’s Chorus of Washington, DC performing at the Lincoln Theatre – 1215 U Street NW, Washington, DC. Purchase tickets (starting at $20) online.

The program for The Holiday Show is online here.

SONG LIST

Preshow: WORLD MUSIC COLLECTIVE
“Ishkar”
Music by Deepak Ram

“Longing”
Music by Cristian Perez

“Treseros son”
Music by Noah Getz

“Caravan”
Music by Juan Tizol

GAY MEN’S CHORUS OF WASHINGTON, DC, WORLD MUSIC COLLECTIVE, and 17TH STREET DANCE
“Christmas Isn’t Christmas ‘Til You Get Here”
Music and lyrics by Kylie Minogue, Steve Anderson, and Karen Poole
Arranged by Chad Weirick

GAY MEN’S CHORUS OF WASHINGTON, DC and WORLD MUSIC COLLECTIVE
“Feliz Navidad”
Music and lyrics by José Feliciano
Arranged by Tim Sarsany

GAY MEN’S CHORUS OF WASHINGTON, DC
“Winter Proverbs”
Music by Frances Farrell
Texts from Chinese, English, German, Guinean, & Irish proverbs
“Ode to the West Wind” by Percy Bysshe Shelley

GAY MEN’S CHORUS OF WASHINGTON, DC and 17TH STREET DANCE
“Paso Na Sinta Ko”
Traditional Filipino Christmas Carol
Music and lyrics by Francis Dandan, and Aureo Estanislao
Arranged by Bobby Buchanan

“Ang Pasko Ay Sumpait”
Traditional Filipino Christmas Carol
Music and lyrics by Vicente Rubi and Levi Celerio
Arranged by Bobby Buchanan

GenOUT YOUTH CHORUS
“Sanna Sannanina”
South African Folk Song/African Folk Song
Arranged by Catherine DeLanoy

“I’ll Be Home For Christmas”
Music and lyrics by Walter Kent and Kim Gannon
Arranged by Paul Langford

GAY MEN’S CHORUS OF WASHINGTON, DC and GenOUT YOUTH CHORUS
“Peace, Salaam, Shalom”
Music and lyrics by Pat Humphries and Sandy Opatow

GAY MEN’S CHORUS OF WASHINGTON, DC
“Silent Night”
Music and lyrics by Franz Gruber
Arranged by Dan Forrest
Soloist: Samilet Lee

“Betelehemu”
Music and lyrics by Via Olatunji
Arranged by Wendell Whalum
Soloists: Dorian Amero, Alex Bowen, Perry Medlin, and Micah Yarbrough

GAY MEN’S CHORUS OF WASHINGTON, DC and 17TH STREET DANCE
“The Man with the Bag”
Music and lyrics by Irving Taylor, Dudley Brooks, and Harold Stanley
Arranged by David Maddux

POTOMAC FEVER
“My Grown-Up Christmas List”
Music and lyrics by David Foster and Linda Thompson Jenner
Arranged by Pentatonix
Soloists: Gia-Ninh Chuang, Jonathan Malavé, and Cooper Westbrook

“12 Days of Christmas/Africa”
Music and lyrics by Music and lyrics by Frederic Austin, David Paich, and Jeffrey T. Porcaro
Arranged by Richrd Gregory and Ken Purchase
Soloists: Steven Shi, Shawn Morris, Kevin Thomason, and Jack Marsh

GAY MEN’S CHORUS OF WASHINGTON, DC and 17TH STREET DANCE
“Favorite One”
Music and lyrics by Cy Coleman, Betty Comden, and Adolph Green

GAY MEN’S CHORUS OF WASHINGTON, DC
“Hanukkah Rhapsody”
Based on Hungarian Rhapsody No. 2 by Franz Liszt
Arrangement and lyrics by Eric Lane Barnes
Soloists: Alex Domini and Will Prater

ROCK CREEK SINGERS
“Cold Moon”
Music and lyrics by Nicholas Ryan Kelly

GAY MEN’S CHORUS OF WASHINGTON, DC and ROCK CREEK SINGERS
“See Amid the Winter’s Snow/Lo How A Rose”
Music and lyrics by Edward Caswall
Additional Lyrics by S.K. Hill
Arranged by Eugene Butler
Adapted for TTBB chorus by M. Howarth

SEASONS OF LOVE
“Give Love on Christmas Day”
Music and lyrics by Freddie Perren, Alphonso Mizell, Christine Yarian, Berry Gordy, and Deke Richards
Arranged by Ronté Pierce
Soloist: Gabriel Lopez
Piano: Kevin Huang

“Now Behold the Lamb”
Music and lyrics by Kirk Franklin
Arranged by Ronté Pierce
Soloists: Chris Murphy and Freddie Quimbley
Piano: Kevin Huang

GAY MEN’S CHORUS OF WASHINGTON, DC
“Love is Christmas”
Music and lyrics by Sara Bareilles
Soloist: Valerie Flores

GAY MEN’S CHORUS OF WASHINGTON, DC and 17TH STREET DANCE
“TeXmas Hold ‘Em”
Music and lyrics by Beyoncé Knowles, Brian Vincent Bates, Raphael Saadiq, Elizabeth Boland, Megan Buelow, and Nathan Farraro
Arranged by Charles Beale
Parody lyrics by Zac Barger

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A Jewish family in fin-du-siecle Vienna gathers at the precipice of the 20th century — raising a glass to the hopes of a new year and the beauty of their Viennese culture. Having risen above the shtetls of their fathers and grandfathers, this blended cosmopolitan family looks to the possibilities of the next generation, wrestling with identity and assimilation — but these futures are soon violently upended by Austria’s turbulent history. Through the seismic shifts brought about by World War I, the rise of antisemitism, the Anschluss, and the Holocaust, generations of family, memory, and traditions are displaced and destroyed. Shakespeare Theatre Company’s production of the Tony- and Olivier Award-winning play Leopoldstadt by Tom Stoppard, directed by Carey Perloff, is one that flings you head-first into the turmoil of change, the heartbreak of unspeakable loss, and the fight to keep memory and identity alive against the backdrop of trauma and tradition.

A practically flawless production from start to finish, the show is as layered and complex as the themes at its core. Playing out the pointed arguments of identity and assimilation through much of the show were Ludwig, played by Firdous Bamji, and Hermann, played by Nael Nacer. Both placing their faith in the power of systems — Hermann in high society and social graces and Ludwig in mathematics and rationality — these two actors were absolute standouts, even as (or especially as) hope is lost. Nacer’s Hermann slowly degrades with the weight of the world increasingly resting on his shoulders, while Bamji’s Ludwig retreats further into his mind as reality slips from him.

Picking up this struggle in future generations, the tension between Nathan, played by Joshua Chessin-Yudin, and Leo, played by Mishka Yarovoy, at the end of the production was equally as poignant. Chessin-Yudin’s Nathan being torn apart by the responsibility of memory was haunting, and Yarovoy’s Leo so completely papering over who he is left you sitting with an empty void, not too dissimilar to that of the boys, both searching for renewal after adversity.

The backbones of the family were the matriarchs — Grandma Emilia, played by Phyllis Kay, the hopeful Wilma, played by Sarah Corey, the strong-willed Hanna, played by Anna Theoni DiGiovanni, and the elegant Gretl, played by Brenda Meaney. Each was pulled to fight back in their own way — Kay rooted her Grandma Emilia in the power of names and memory reminiscent of so many elders afraid of being lost or forgotten; Corey’s Wilma was warm and committed to giving those around her a sense of connection and safety whenever she could; Theoni DiGiovanni as Hanna was impulsive, fiery, and self-assured young girl rapidly hardening; while Meaney captured a carefree and yet fragile air with her portrayal of Gretl.

The heavy torch passed all too quickly to the women of the next generation — the determined Rosa, played by Rebecca Gibel; the protective Sally, played by Anna Slate; and the independent-minded Nellie, played by Rachel Felstein. They, too, watch their world and the world of their children disintegrate, desperate to counter the ragings of another world war by forging an armor of tradition, love, and resilience.

As children growing up knowing nothing but chaos, the young actors of the production played an important role in driving home the depths of loss woven throughout the play. Tens of millions of lives lost is tragedy enough, but these youthful faces remind you of the scale of life that was never lived. William Morford, Teddy Schechter, Adrianna Weir, Mila Weir, Harrison Morford, and Audrey Ella Wolff took on the somber task, walking the line between hope and horror.

Rounding out the enormously talented cast were Maboud Ebrahimzadeh (Ernst), Samuel Adams (Fritz, Percy), Adrianne Krstansky (Hanna, Poldi), and Samuel Douglas (Otto, Civilian). All wove together throughout to create an incredibly arresting portrayal of history’s impact on culture, family, and the future, challenging us all to consider what it means to survive and remember.

Equally and beautifully intentional was the work of the creative team of this production. Under the thoughtful direction of Carey Perloff, every element — from the arching art nouveau windows and steadily emptying shelves of the scenic design by Ken MacDonald to the chill-inducing projections of Yuki Izumihara — built an expansive, tactile world as real as the gravity of the story being told. Costume Designer Alex Jaeger and Wig & Hair Designer Tom Watson also are to be commended on their nimble traversing of the passage of nearly 60 years through their craft.

A heavy and sobering but moving and deeply important production, Leopoldstadt at the Shakespeare Theatre Company finds itself in DC at a time when the air feels heavy and the pendulum of history retracts backward. While the show is inescapably rooted in the history and stories of the Jewish experience for generations across the early 20th century, the hopes, connections, and nightmares of this family can also be deeply felt as universally human to today’s audience. Which is, perhaps, one of the most enduring strengths of this work and of this production — to be able to reach from stage to audience and back again with the thread of indivisible humanity, determined to remember the past and step resolutely into the future.

Running Time: Two hours and 37 minutes, with one 15-minute intermission.

Leopoldstadt plays through December 29, 2024, presented by Shakespeare Theatre Company, in association with The Huntington, at Harman Hall, 610 F Street NW, Washington, DC. Tickets (starting a $35) are available at the box office, online, or by calling (202) 547-1122. Shakespeare Theatre Company offers discounts for military servicepeople, first responders, senior citizens, young people, and neighbors, as well as rush tickets. Contact the Box Office or visit Shakespearetheatre.org/tickets-and-events/special-offers/for more information. Audio-described and captioned performances are also available.

The Asides program for Leopoldstadt is online here.

COVID Safety: All performances are mask recommended. Read more about STC’s Health and Safety policies here.

Leopoldstadt
By Tom Stoppard
Directed by Carey Perloff
Produced in association with The Huntington

CAST
Fritz, Percy: Samuel Adams*
Ludwig, Kurt: Firdous Bamji*
Zac, Nathan: Joshua Chessin-Yudin*
Wilma: Sarah Corey*
Hanna, Hermine: Anna Theoni DiGiovanni*
Hanna, Poldi: Adrianne Krstansky*
Otto, Civilian: Samuel Douglas*
Ernst: Maboud Ebrahimzadeh*
Eva, Nellie: Rachel Felstein*
Eva, Grandma Emilia: Phyllis Kay*
Hilde, Rosa: Rebecca Gibel*
Gretl: Brenda Meaney*
Hermann: Nael Nacer*
Jana, Sally: Anna Slate
Jacob, Leo: Mishka Yarovoy*
Pauli, Young Leo: William Morford
Pauli, Young Leo, Heini, Young Jacob: Teddy Schechter
Young Sally, Mimi, Young Rosa, Bella: Adrianna Weir
Young Sally, Mimi: Mila Weir
Heini, Young Jacob: Harrison Morford
Young Rosa, Bella: Audrey Ella Wolff
Understudy: Jacob Schmitt, Jackie Scholl

ARTISTIC TEAM
Scenic Designer: Ken MacDonald
Costume Designer: Alex Jaeger
Lighting Designer: Robert Wierzel
Sound Designer and Composer: Jane Shaw
Projection Designer: Yuki Izumihara
Wig & Hair Designer: Tom Watson
Voice and Dialect Coach: Lisa Beley, Lee Nishri-Howitt
Fight and Intimacy Consultant: Jesse Hinson
Movement Director: Daniel Pelzig
Dramaturg: Charles Haugland, Drew Lichtenberg
Resident Casting Director: Danica Rodriguez
Associate Director: Dori A. Robinson
Production Stage Manager: Laura Smith*
Assistant Stage Manager: Anthony O. Bullock*, Rebecca Talisman*

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers

SEE ALSO:
Shakespeare Theatre Company announces ‘Leopoldstadt’ cast and creative team (news story, November 5, 2024)

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