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

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

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

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

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

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

Running Time: 90 minutes, no intermission. 

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

The program is online here.

Shakespeare’s Twelfth Night
Adapted and directed by Travis Xavier

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For 65 years, folks have heard the hills come alive in The Sound of Music. Featuring a timeless story and memorable songs, this show has captivated audiences with its strong themes of love, resilience, and the power of music. Now this cast and crew, directed by three-time Tony Award winner Jack O’Brien, has set out to climb every mountain and teach a new generation the notes to sing.

Written by Howard Lindsay and Russel Crouse with music by Rodgers and Hammerstein, The Sound of Music tells the story of Maria as she takes on the job of governess to a large family while she decides whether to become a nun. The seven children and their widowed father, Captain von Trapp, learn how to bring joy and song back into their home with Maria’s help, and eventually love blooms. Set in Austria on the eve of its annexation into Nazi Germany in 1938, the push for total cooperation of Austrian families floods the home of the von Trapps. Soon, Captain von Trapp is ordered to accept a commission from the German Navy, but he opposes the Nazis, so he and Maria decide to flee Austria with the children. Even as hard choices must be made, these characters find joy in the small moments and learn to sing with all their hearts.

The cast of this performance was full of life; each actor was well-developed in their personality, especially the von Trapp children. Every scene they were in was brimming with happiness, and no child overshadowed another. The singing was also spectacular across the board, always full of feeling and emotion while still being able to project and articulate.

Cayleigh Capaldi delivered a beautiful performance as Maria; from her wide-eyed joy singing with the children to the inner conflict she faced in the abbey, she was the picture of happiness and feminine strength. Kevin Earley encompassed the stern yet protective Captain von Trapp and did a wonderful job shedding the captain’s firm and cold personality to become a loving father and husband as the play progressed. Kate Loprest as von Trapp’s socialite fiancée, Elsa Schrader, and Nicholas Rodriguez as impressario and family friend Max Detweiler brought laughter to the stage. Ariana Ferch as daughter Liesl was incredibly poised and graceful, gliding across the stage with elegance during “Sixteen Going On Seventeen.” Christiane Noll stunned as the Mother Abbess, a beautiful representation of peace and strength, and a guiding force throughout the show. All the children were wonderful in “Do-Re-Mi” and the reprise of “So Long, Farewell,” where everyone had to sing as if all is well while the Nazi flag flies behind them — a testament to the actors’ ability to act within the acting.

The orchestra, conducted by Jonathan Marro, bolstered every scene and song. The lighting designed by Natasha Katz was beautiful and atmospheric, and did a wonderful job with the abbey, capturing the ambiance of a sacred place.

The Sound of Music is a cherished musical that remains timeless in its themes and iconic in its songs, and is here in DC on national tour to enchant a new generation. This story serves as a beautiful reminder to find joy and camaraderie in hard times, and to stick with what you believe, no matter the cost.

Running time: Two hours and 45 minutes, including a 20-minute intermission.

The Sound of Music on national tour plays through October 5, 2025, in the Opera House at The Kennedy Center for the Performing Arts, 2700 F St NW, Washington, DC. Purchase tickets ($49–$225) online, through TodayTix, or by calling (202) 467-4600 or toll-free at (800) 444-1324. Box office hours are Monday-Saturday, 10 am-9 pm, and Sunday 12 pm-9 pm.

A limited number of Rush tickets will be available for every performance at the Kennedy Center Box Office the day of the performance. $39 for Sunday evening through Thursdays and $49 for Fridays through Sunday matinees. Rush tickets become available 2 hours prior to each performance, with the exception of availability starting at 12 p.m. for Sunday matinees. Tickets are subject to availability and have no guaranteed location.

The program for The Sound of Music is online here.

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Everyone probably knows at least one song by The Temptations — whether it’s “My Girl,” “Just My Imagination,” or any of their other top-charting songs, this Rock & Roll Hall of Fame group continues to inspire and invigorate people with their music. In this dazzling musical filled with electrifying vocals and smooth moves, directed by Des McAnuff, Ain’t Too Proud — The Life and Times of The Temptations tells the extraordinary story of this band of brothers’ rise to fame and all the pitfalls and struggles that come with it.

Based on the book The Temptations by Otis Williams, a founding member, the story is told through his eyes and follows the group from its beginnings in Detroit to their time on the road and the inevitable changes and eventual replacement of members over time. The five main members — the ones who are the most well-known — are the focus throughout: Otis Williams, Paul Williams, Melvin Franklin, Eddie Kendricks, and David Ruffin learn the beauty of brotherhood, the challenges of fame, and how music is the only thing that lives forever.

All the cast members are vocal powerhouses — each member has their own distinct voice while also blending beautifully with fellow members. Whenever The Temptations performed a song, they did so with both reverence and fun, showing the cast’s respect and love for the original songs while also making room for themselves. The range of vocals was also stellar, from Jameson Clanton’s deep baritone as Melvin Franklin to Lowes Moore’s killer high notes as Eddie Kendricks; the musical talent is undeniable.

“The whole is greater than the sum of its parts” — Otis Williams quotes this well-known saying when referencing The Temptations, and this mentality holds true for the actors playing these roles as well. From their opening song, all the actors establish personalities that are maintained throughout the performance and the passage of time. Rudy Foster, as Otis Williams, does a spectacular job guiding the audience through the story with raw, emotional deliveries at every turn. Bryce Valle amazes as Paul Williams with stunning movements (Valle is also the dance captain) and exhilarating execution of choreography. Jameson Clanton as Melvin Franklin wows audiences with his beautiful baritone and sharp delivery. Lowes Moore as Eddie Kendricks captures the struggles of loyalty with incredible consistency, much like his high notes. Corey Mekell shines as David Ruffin, embracing his character’s troubled past and powerful voice to deliver a performance that’s deeply driven and makes us want to root for him, even when things go wrong. Clearly, all the actors did their homework — not only on the songs and the history of this group but also on the trials and joys these men endured together.

One of the most exciting parts of this musical is the dancing — the choreography, created by Sergio Trujillo, is fluid, dynamic, and makes you want to jump out of your seat! The actors do an incredible job multitasking between singing and dancing, and the endurance that takes cannot be understated. The choreography also extends into scene transitions, allowing for smooth movements that sweep the audience seamlessly into the next scene. There’s a beautiful balance throughout between the storytelling and songs, which highlights this show’s strength as a jukebox musical for the ages.

Even if you don’t know much about The Temptations, their story of fame, fighting for what’s right, standing up for what you believe in against all odds, and the joy of music is something that still resonates today in a modern way. The timeless music and messages of Ain’t Too Proud — The Life and Times of The Temptations, brilliantly executed by this cast and crew, make it a must-see for all music-loving folks around.

Running time: Two hours and 35 minutes, including a 20-minute intermission.

The national tour of Ain’t Too Proud—The Life and Times of The Temptations plays through June 22, 2025, at the National Theatre, 1321 Pennsylvania Ave NW, Washington. Tickets ($70–$200) are available online, at the box office, or by calling (202) 628-6161.

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

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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Les Misérables has been a showstopping musical since its pre-Broadway run at the Kennedy Center in 1986. Now it is one of the most well-known and beloved musicals to grace the stage, enthralling audiences with tales of love, passion, sacrifice, and redemption. With its return, directors Laurence Conner and James Powell and the entire cast, crew, and orchestra remind audiences why this musical is such a timeless one — it carries an important testament about the resilience of the human spirit, a resilience that persists today through the tumultuous times we live in.

Originally based on the novel by Victor Hugo, Boubill and Schönberg’s musical sets us in 19th-century France, where we follow Jean Valjean, a former convict who breaks parole and struggles to redeem his life while being relentlessly pursued by the lawman Javert. After adopting a new identity, Valjean becomes a respected mayor and factory owner but is forced to flee when his past is discovered. He promises a dying woman, Fantine, that he will care for her daughter, Cosette, whom he raises as his own. As Cosette grows up and falls in love with the revolutionary Marius, Valjean becomes entangled in a student uprising in Paris. This uprising compels all the characters to confront the truths of their lives, for better or for worse, while fighting for what they believe is right.

The cast of this performance delivered stellar performances, showcasing the emotional depth of their characters through a seamless blend of sorrow and joy, laughter and tears. All the actors had beautiful and powerful voices that filled the stage with tenacity — from the leads to the ensemble and the children. Their relationships are well built; even as they sing lines or hold the fort in the background, there is always something to see and love happening onstage.

[Editor’s note: No cast list was available — either online or in a printed program — for the evening performance on June 12 that our reviewer attended. Several cast members boycotted the performance the night before, when President Trump attended, and DCTA respects the production’s decision not to disclose their identities.] 

[Actor Name] as Jean Valjean showcased an impressive range, shifting seamlessly from powerhouse songs like “Soliloquy” to the soft and gentle tones in “Bring Him Home,” further highlighting Valjean’s growth. [Actor Name] delivered a masterful performance as Javert, continually capturing the audience’s attention on stage with authority. [Actor Name] breaks the audience’s hearts immediately in “I Dreamed a Dream” as Fantine, overflowing with vulnerability and stellar vocals all at once. [Actor Name] as Cosette, [Actor Name] as Eponine, and [Actor Name] as Marius blend their voices together in magnificent harmony as their characters tackle love, unrequited or otherwise.

Monsieur and Madame Thenardier, played by [Actor Name] and [Actor Name], deliver much-needed comedy with their elaborate schemes and instant chemistry with the audience. Company numbers such as “One Day More” fill the theater with captivating harmonies and strong vocals, bolstering the themes of hope and resilience as they all stand as one. To top it all off, the orchestra, conducted by Glenn Alexander II, enhances the cast’s performances with seamless song transitions and musical direction.

With minimal and mobile sets designed by Matt Kinley, actors can fill the space with their vocals and performances while still interacting with the sets and each other in a way that feels believable. The sets, though not elaborate or distracting, still use the grandeur of the stage they on to their advantage, such as with the staging of the barricade. Projections are also used to depict certain settings or the passage of time, enhancing the overall performance without detracting from the actors’ work.

Les Misérables is a timeless testament to the idea that real change requires addressing the root causes of inequality and injustice. With all the horrors and injustices that persist in this country and around the world, that message has never been more important. This incredible team of actors, crew, and production uses the power of musical theatre to remind us that we can overcome adversity with the power of love, compassion, and raising our voices for all to hear.

Running time: Approximately three hours, including one intermission.

Les Misérables plays through July 13, 2025, in The Opera House at the John F. Kennedy Center, 2700 F St. NW, Washington, DC. For the schedule and to purchase tickets ($49–$275), go online, contact the Box Office at (202) 467-4600, or visit TodayTix.

The program for the national tour of Les Misérables is online here.

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

SEE ALSO:
The enduring magnificence of ‘Les Misérables,’ now at Kennedy Center (review by John Stoltenberg, April 14, 2023)

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What does it take to start a revolution? That is the central question posed in Bull in a China Shop. Inspired by the real love letters between Mary Woolley and Jeanette Marks from 1899 to 1937, this play by Bryna Turner takes a deep dive into the ambitions and trials of two queer women. As the actors and director Vanessa Markowitz highlight, this history of revolution wrapped in a love story has a way of repeating itself.

Bull in a China Shop covers the life and love of Mary Woolley and Jeanette Marks from the turn of the 19th century through World War I, right up to the beginning of World War II. Woolley is the newly instated president of an old Massachusetts seminary-turned-university, and Marks is a new English professor. Both are set on revolutionizing women’s education and empowerment, even if it costs them their relationship. In 24 breakneck scenes, these queer lovers and their friends explore relationships, power, revolution, and the risks women take when they choose to lead.

The production team took advantage of the small space provided by the Arts Barn, utilizing it to its full potential by using the theater door that the audience enters through as the entrance to the characters’ homes, and employing the audience seating much like a college lecture hall, where professors can wander through the aisles to better interact with their students. The sets, designed by Jeffery Asjes, were minimal and provided only what was necessary to evoke the feeling of furnished spaces. Projections, created by Brian Markowitz, further established the scenes of a university campus. One of the added benefits of these minimal sets and projections is that they allow the actresses to fill the rest of the space with their presence.

All five actresses in this all-women cast brought energy and passion to the stage, further highlighting the themes of female empowerment and revolution. Cassandra Redding delivered a performance that was both boisterous and vulnerable as Mary Woolley, illustrating how a rise to power also brings a rise in conflict, especially for a woman. Brittany Trexler’s ability to embody both the brash lover and passionate teacher that is Jeanette Marks was captivating and showcased the growth of her character. Jennifer Flores plays the naïve student Pearl with joy and openness that reflects her character’s voice, and her monologue conveyed all the radical emotions and tribulations of first love — or just love at all. Briana Craig’s character, Felicity, often supports the other characters in their endeavors while maintaining her own values and commanding a presence on stage. Rachel Schlaff portrays the “traditional” Dean Welsh with poise and elegance that reveal the conflicted nature of her character while keeping her reserved demeanor. All the actresses did their homework and found ways to dig into the emotional turmoil of love and power, as well as the struggles of wanting change and stability all at once.

Director Vanessa Markowitz notes that to portray the timelessness of the themes and stories explored, they chose “to incorporate contemporary elements of design in the costumes and props — in much the same way Turner utilizes modern language…” While some of these modern touches were a bit jarring, overall they did work to exemplify the repetition of history and the necessity of learning from the past. The costumes evolved as the years stretched on, moving from traditional late-1800s women’s wear to more casual dresses and skirts, and the addition of modern rainbow accessories such as bows or earrings conveyed allyship to the LGBTQ+ community that stretches beyond the characters.

There is never a “right time” for a revolution. At the beginning of this play, the characters are met with backlash and claims that their ideas are too radical while “The Great War” rages on. By the end of the play, Woolley is forced to resign due to concerns that her revolutionary ideas are too much to handle as the world prepares for World War II. Despite this, the women continue to fight and share their revolutionary ideas in hopes that something good will come from it, even if it’s much, much later. The revolutionary spark and passion of the women in Bull in a China Shop serve as a much-needed reminder that our history cannot be ignored — it is a mirror of our lives now, a warning of what happens if we resign to silence, and a call to action to never back down from a revolution.

Running Time: 90 minutes with no intermission.

Bull in a China Shop plays through June 22, 2025 (Friday and Saturday at 8 PM and Sunday at 2 PM), presented by Arts on the Green in partnership with The Montgomery Playhouse performing at the Arts Barn, 311 Kent Square Road, Gaithersburg, MD. For tickets ($23; $21, students 15–21), buy them at the door or purchase them online. Online ticket sales end two hours prior to the performance. Tickets may also be purchased in person at the Arts Barn box office or by calling 301-258-6394.

Recommended for ages 15 and up. (Contains adult language and intimacy.)

Bull in a China Shop
By Bryna Turner
Directed by Vanessa Markowitzv

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The moment one leaves home for the first time — whether to explore, get an education, or simply find oneself — is a universal experience. Almost everyone can relate to it, Shakespeare included. He wrote Two Gentlemen of Verona early on in his career, but much like his other plays, its messages are timeless. That’s exactly what Travis Xavier set out to explore in this modern “hop-hop” adaptation titled In Gentle Verona.

This version follows the same plot structure of Shakespeare’s original play: two best friends part ways as they venture into adulthood, only to find themselves reunited but torn apart by their shared love for the same woman. Proteus has a girlfriend from his hometown but is disloyal to her in pursuit of Sylvia, who is in love with Valentine, his best friend. The story then details the destruction of bonds and the roots of treachery, as well as the strength of friendship and trust, as these two men struggle to reconcile their desires with their promises.

Part of the issue modern audiences run into with Shakespeare’s plays is the language, as it is not what we’re used to in the 21st century. However, this production kept the dialogue at an upbeat pace that fed into the overall energy of the cast. The lines were punchy, and the delivery was crisp, adding to the modern feel of this production. Throughout the show, the cast proved that they understood the text as they worked to convey it in a modern setting. Highlights from the cast include Alexandra Fenton as Lance, whose bold acting choices and strong commitment to the comedic value of the character kept audience members on their toes; Ali Lightfield as Julia, whose tenacity and determination had the audience rooting for her; and Alec Schneller as Proteus, whose moral dilemma and constant charisma pinpointed him from the get-go as a crucial character to the story. Overall, the cast dynamics were fun, funny, and upbeat, much like any frat house you might find.

A significant change from the original Shakespeare text to this adaptation is where the show is set — right here in DC! This distinct change is made clear right away with the fun DC elements littered throughout the set, like a poster of the Washington Monument. The entire scenic design by Harlan D. Penn introduces the audience to the updated setting from the moment you enter the theater. Another design element accentuating the modern setting is the costumes. Each character had clear color motifs that delineated where bonds were made (and perhaps also where they could be broken), and the added use of modern patterns and silhouettes by costume designer Emily Vallozzi helped define characters’ personalities from the moment they stepped on stage.

This play isn’t performed often anymore, as is noted by dramaturg Eve Parent, because of the controversial ending where Proteus attempts to force himself on Silvia before being stopped by Valentine. Despite the intense ending, the cast and director did a great job taking care with that moment and being sure to highlight the condemning of Proteus by other characters for this action. This moment also speaks to another key motif this production team sought to highlight: the integration of modern voices and cultures into these traditional plays. Parent goes on in their statement to emphasize the importance of “putting Shakespeare in direct conversation with Black culture” so that more diverse people have a chance to connect with Shakespeare’s relevant themes in ways that weren’t possible when these plays were first written.

In Gentle Verona is a spunky, modern, and funny adaptation of one of Shakespeare’s earliest works that stays true to the core of the original while still leaving room for modernity and new challenging questions and themes to be explored.

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

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

In Gentle Verona
Adapted and directed by Travis Xavier

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Red, orange, yellow, brown, green, blue, and purple — what do all these colors have in common? They all have stories, sorrows, joys, and dances that need to be shared. Who would’ve thought that colors could express such emotion? The cast of for colored girls who have considered suicide/when the rainbow is enuf knew, and alongside their co-directors Fatima Quander and Ama Law, this production team brought to life the stories of colored women in a way that is both modern and timeless.

This revolutionary choreopoem by playwright Ntozake Shange tells the multilayered stories of African American women through its cast of nameless women who are identified only by their assigned colors; red, orange, yellow, brown, green, blue, and purple. The women’s stories are as interconnected as they are individualized and tackle subjects of rape, abandonment, domestic violence, and more. Powerful stories are intertwined with laughter and dance, and all 22 poems performed speak truth to the obstacles African American women may face through their lives.

The cast of this performance was phenomenal; they were engaging, balanced, and well-connected as an ensemble. It was clear that the actors really trusted each other and had taken the time to form real bonds. As much as they were an ensemble, each actor delivered a unique and personal performance. Kayley Childs dominated the stage during her monologues as the Lady in Red, Alaina (AJ) Jenkins range of emotional expression captivated audience members as the Lady in Brown, Elizabeth Enworom’s graceful movements and punchy attitude made her pop as the Lady in Orange, Medhanit (Medi) Desta was able to capture both the wonders and sorrows of youth as the Lady in Yellow, Nina-Abbie Omatsola spoke with the power of a monarch as the Lady in Purple, Toi Lyles stunned with elegant dancing and performance as the Lady in Green, and Kayla Harvey-Ali pierced hearts with the dignified pain of her words as the Lady in Blue. All the actors spoke their lines with a reverence and power that showed their respect and love for this piece.

An interesting element of this performance was announced in the pre-show message, where the audience was informed to silence their cellphones but not their voices. They were encouraged to cheer loudly, clap for lines that they related to, and dance with the actors when prompted. This added audience interaction breaking from the traditional etiquette of theatergoing worked highly in this show’s favor, as the audience and actors were given permission to feed off each other; when an actor said something that the audience loved, the audience immediately showed that love, which empowered the actors to continue forward with even more confidence. As the show went on, the energy in the room became more and more palpable, until it finally burst with a standing ovation.

Part of the beauty of this show was the balance of contrasting ideas and emotions — joy could turn into sadness in the blink of an eye (not unlike in real life), and the lighting of the show amplified this poignant theme of contrast. Lighting designer John Alexander and the entire lighting crew utilized many tools in their toolbox to create the different lighting moods of the show; from disco lights to stark spotlights to using colored lighting to indicate which actor was the focal speaker, the lighting design really added an extra ethereal element to the performance.

In this radical political world we find ourselves in, it is important to remember the stories of the people and communities that continue to shape our society. The joys and sufferings of marginalized groups are what will take us to the future and build us up. This performance of for colored girls who have considered suicide/when the rainbow is enuf exemplifies the importance of loudly and freely sharing our struggles and learning from mistakes so we can march forward to a better and brighter tomorrow, for ourselves and the generations to come.

Running Time: 90 minutes with no intermission.

for colored girls who have considered suicide/when the rainbow is enuf plays through February 28, 2025, presented by UMD School of Theatre, Dance, and Performance Studies performing in the Kay Theatre at The Clarice Smith Performing Arts Center, 8270 Alumni Drive, University of Maryland, College Park, MD. Purchase tickets ($25 regular, $10 for students and youth) online.

The program book can be downloaded here.

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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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