“Soon as you hear the handcuffs go ka-klink, you hear the cash register go cha-ching.” This line in The Peculiar Patriot, currently playing at Baltimore Center Stage, summarizes the loss of humanity that often goes unnoticed in the American prison system. So often, prisoners are seen as “less than” except by the people who love and care for them outside of the prison walls. This one-woman play, written and performed by Liza Jessie Peterson and directed by Talvin Wilks, offers a unique perspective on the realities of American prisons, presenting a mix of laughter and pain. 

There is a rawness at the heart of The Peculiar Patriot that is both tender and defiant. This show is anchored in the character of Betsy LaQuanda Ross, a woman who visits her best friend in prison, brings neighborhood gossip, stitches quilt-squares for each incarcerated “street soldier,” and, beneath the surface chatter, tears away the veneer of America’s “tough-on-crime” self-image. Through Betsy, Peterson gives voice to the communities too often spoken about rather than with. 

From the moment the stage lights up and the monitors turn on, you’re in a visitors’ room of an Upstate New York prison: the beige walls, the metal chairs, the vending machine snacks, the general coldness (scenic design by Andrew Cissna). Into that space comes Betsy’s sound, edge, and humor. She jokes. She remembers. She scolds. And gradually, the viewer realizes the jokes are a shield, the memories a lament, the scolding a call-to-arms. Peterson doesn’t lecture from a podium; she sits across the folding table as though she’s talking to you, and you’d better listen. 

What’s remarkable is how the show balances heartbreak with wit. Too often, pieces about incarceration become abstract, numbing audiences with statistics and rhetoric. But here, layers of character and particular detail keep the story alive. We laugh when Betsy recounts a juvenile-detention quilt class (“They gave me the nickname Betsy Ross ’cause I was sewing quilts in juvie”). You shift uncomfortably when she starts sharing the history, the numbers, and the data of what is behind the so-called “criminal justice system,” recoiling at the truth of this profit machine, fed on human lives and broken families.

Peterson’s performance is superb. In the best solo shows, the performer disappears into the world she’s created; here, Peterson melds with Betsy so completely that you forget that this is a play as you witness the atrocities known as “business as usual.” The rhythm of the script — the pauses, the reveals, the laughter turned quiet — feels both urgent and intimate. 

The true power of The Peculiar Patriot lies in its duality. It is a love story, yes — a love story of friends separated by walls, of women who refuse to let the world forget those behind bars. But it is also an indictment: of racialized incarceration, of a society that builds plantations of prisons, of the invisible labor of those who visit, call, hope. Peterson writes: “Our country is rooted in the system of slavery … The 13th Amendment declares slavery is illegal except for the punishment of a crime. Prisoners are allowed to be slaves.” The individual is part of a system, and Peterson knows that. The Peculiar Patriot insists that what we’re seeing is not a broken system but a designed one.

For me, the show left me thinking not only about the incarcerated but also about the visitors: those families who wait at night at freezing bus stops, who show up after five-hour rides, whose arms hold the quilt but whose hearts carry silence. The image of Betsy adding quilt-squares — each square a name, a story, a memory — was haunting. 

In my reading, this is not just theater; it is civic engagement in costume. It asks us: What does it mean to love your country when your country locks up your loved ones? What does patriotism look like when the flag is draped over prison walls, when the parade down Main Street is led not by a marching band but by a prison bus — the nation’s twisted hype man? The title captures the paradox: a “peculiar patriot” is someone who doesn’t salute the guns or the anthems but visits the cells, holds the ledger, and carries the quilt. It is peculiar because it demands you look where you don’t want to. It is patriotism because it cares for those the nation forgot.

If you have the chance to see this production live, it will challenge you, soften you, unsettle you — but in the best way. It will make you laugh, and then quietly burn with the question: How many squares are on the quilt? How many visits have been made? How many lives intersect with the system?To sum up: The Peculiar Patriot is powerful. It is humane. It is urgent. It is art with its fist raised, wrapped in a hand that offers a hug. It isn’t comfortable — but it doesn’t pretend to be. It is necessary.

Running Time: 90 minutes, with no intermission.

The Peculiar Patriot plays through November 9, 2025, at Baltimore Center Stage, 700 North Calvert Street, Baltimore, MD. For tickets ($10–$90, with senior and student discounts available), call the box office at (410) 332-0033 (Tuesday through Friday, noon–5 pm), email boxoffice@centerstage.org, or purchase them online. 

The program is online here.

CREATIVE TEAM
Playwright/Actor: Liza Jessie Peterson
Director: Talvin Wilks
Stage Manager: Alexis E. Davis
Stage Manager: Nicholas Carlstrom
Asst. Staged Manager: Sharon Zheng
Scenic/Lighting Designer: Andrew Cissna
Asst. Scenic Designer: Peter Leibold
Costume Designer: Latoya Murray-Berry
Sound Designer: Luqman Brown
Projection Designer: Katherine Freer
Asst. Projections Designer & Programmer: Desne Wharton
Properties Manager: Belynda M’Baye
Hair/Wig/Makeup Designer: Larry Peterson
Tour Producer: James Blaszko
Executive Producer: Lena Waithe
Production Asstistant: Khalil White

The post A unique perspective on U.S. prisons, in powerful ‘Peculiar Patriot’ at Baltimore Center Stage appeared first on DC Theater Arts.

There are some shows that invite you to sit back and watch, and then there are shows like Vesper, a Dream Play — the kind that pull you inside and don’t let you go until long after the lights come up. This ethereal experience, now playing at The Voxel in Baltimore, was conceived and directed by Jarod Hanson. Vesper is less a traditional play and more of an experiment. It’s a journey through dreams and rituals, through sound and shadow, through the kind of mystery that theater can still conjure when it dares to let go of the rules.

The evening begins quietly, almost reverently. The house goes dark, and before a single word is spoken, the air seems to hum. There’s a stillness — the kind that makes you lean forward. When the cast finally appears, they don’t “enter” so much as emerge, like figures rising from fog or memory. From the start, you can tell this isn’t a story to follow; it’s something to feel.

Vesper unfolds through a series of images and movements rather than a straightforward plot. I liken it to abstract art. There are moments of dance, fragments of poetry, and scenes that shift between the real and the surreal. The performers move like a single, breathing organism, their bodies tracing shapes that feel ancient — part ritual, part dream. Sometimes they’re caught in a flicker of light; other times, swallowed by shadow. It’s hypnotic to watch.

The lighting and sound design are major players here. And it was a job well done by John McAfee and Jason Charney. The lights ripple and pulse like moonlight through trees, while the soundscape — a mix of live music, whispers, and ambient tones — fills the room like another presence. You don’t just see this show; you feel it vibrating through the air. The technical artistry has been elevated — each element layered so carefully that the boundaries between performance and environment seem to disappear.

The program describes Vesper as “a surrealistic exploration of humanity’s relationship to the night and the rituals we invoke to heal, find peace, and ward off danger.” That description fits, but the experience is even deeper. It’s about the ways we search for meaning in darkness — both literally and emotionally. There’s a recurring sense of reaching, of trying to touch something just beyond understanding. The performers express it through gestures, through stillness, through moments when the entire ensemble breathes in unison.

What struck me most was the freedom the show gives its audience. There’s no single way to interpret it — no “right” way to watch. You can let your imagination fill in the blanks, find your own story inside the fragments. At times, I didn’t fully understand what was happening, and I loved that. It felt like a dream you wake up from, remembering only pieces, but those pieces still move you.

Of course, Vesper won’t be for everyone. Those who prefer clear narratives and tidy resolutions might find it confusing or even frustrating. It asks a lot of you. Patience, openness, and a willingness to surrender. But for those who crave something different, something immersive and alive, it’s a rare gift.

There are a few moments I can’t shake: a silhouette bathed in deep blue light, a slow-motion sequence that felt suspended in time, and a final image that left the entire room silent. 

In a city that’s becoming known for its bold and experimental theater, Vesper stands out as something special — a reminder that the stage can still surprise us, still transport us. It’s a piece that doesn’t try to explain itself; it simply invites you to step into the dark and see what you find.Vesper, a Dream Play is beautiful, strange, and haunting — a 75-minute dive into the unconscious. It’s not a story you watch; it’s a feeling you carry with you. I left The Voxel that night still hearing echoes of its soundscape, still seeing flickers of its light. And maybe that’s the point — to leave us all a little haunted, a little awakened, and a little more willing to dream.

Running Time: About 75 minutes with no intermission.

Vesper, a Dream Play plays through November 2, 2025, at The Voxel, located at 9 West 25th Street, Baltimore, MD. Tickets ($10 to $100) can be purchased online.

Vesper, a Dream Play

CREATED AND PERFORMED BY
Alix Fenhagen
Luu Pham
Ally Ibach
Chelsea Thaler
Molly Margulies
Hailey Withrow
Parker Mathews
Matthew Williams

CREATIVE TEAM
Director: Jarod Hanson
Associate director: Brandice Thompson
Stage Manager: Olivia Dibble
Production Manager: Aran Keating
Sound, Music, and Multimedia Designer: Jason Charney
Lighting Designer: John McAfee
Set & Properties Designer: Joe Martin
Costume Designer: Rowan Gardner
Asst. Stage Manager: Zack Anderson
Understudy: Meghan Ziccardi
Vocal Coach: Britt Olsen: Ecker
Artist Advocate: Katie Hileman
Producers: Jarod Hanson, The Acme Corporation, Aran Keating

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Step inside! Lions, tigers, elephants, oh my! Welcome to the show! There’s something magnetic about a good circus — its danger, its brightness, and the curious mix of broken dreams and wonder. Water for Elephants, the new musical based on Sara Gruen’s novel and directed by Jessica Stone, aims to wrangle all of that into a rich spectacle. Fresh off a 2025 Broadway run, Water for Elephants’ first national tour plays at the Hippodrome now through October 4.

The story is set during the Great Depression, when the American circus circuit was at its peak. It follows Jacob Jankowski, portrayed by Zachary Keller, who joins the Benzini Bros. circus after being dealt a life-changing tragedy. While a triangular love story plays out among the main characters, the circus animals also exert an emotional presence. They are more than just big ticket money makers; they are very real and highly loved members of the circus family.

From the moment the musical begins, amid shifting train cars and tattered tents, there’s a strong sense of immersion. The acrobats, aerial work, juggling, and movement — these aren’t just gimmicks. They feel built into the story. Shana Carroll’s circus design, paired with Jesse Robb’s choreography, gives the show kinetic energy. Some scenes, especially those involving the animals (puppets and otherwise), hit with an emotional weight you might not expect. You are absolutely given a special pass to go behind the scenes of the circus.

The overall cast created genuine moments of awe and childlike wonder. August, the circus owner, played by Connor Sullivan (who you may recognize from the national tour musical Chicago), was truly a standout. His contentious relationship with Jacob as his rival is always at a near boiling point. He offers very little respect to Jacob, even though he desperately needs him to keep his circus going. But August’s voice, especially during the number “The Lion Has Got No Teeth,” was nothing short of captivating. Hands down, my personal favorite number of the show. His presence was loud even when he didn’t say a word.

Zachary Keller (Jacob Jankowski) also dominated the stage in the numbers “I Choose the Ride” and “Go Home.” He clearly loves his voice, and his voice loves us. The way he opened and captured the entire auditorium was breathtaking. And of course, his fervor would’ve been meaningless if not for the strong and sweet Marlena, wonderfully performed by Helen Krushinski. Their chemistry was palpable. Their duet “Wild” is truly what life was meant to be. Passionate, vulnerable, endless, and slightly unhinged. Their intertwined voices were pure chaotic magic.

Then there were the animals. There was a mix of puppets and humans playing the part of circus animals. The most notable of course was Silver Star, the horse gracefully performed by Yves Artieres. There was a certain elegance and poise as he moved through the air. You could see and feel the horse that he was once as he cantered above the audience in the sky. He gave you drama without a single syllable.

The performers who become Rosie the elephant (Ella Huestis, Bradley Parrish, John Neurohr, Carl Robinett, Grant Huneycutt) deserve special kudos. While there were some minor placement continuity issues (physically moving the elephant’s trunk underneath Marlena), this group was astounding. They disappeared into the role, and all you saw was Rosie. Impressive. That level of skill and near perfection is stunning.

My very minor disappointment was the songs in general. The songs are sincere, often beautiful, and well sung — but they aren’t always memorable. Some numbers feel like bridges rather than destinations. The show lacks one standout anthem that lingers after the curtain, the songs providing more mood than “I-can’t-get-it-out-of-my-head” hooks.

Overall, Water for Elephants at the Hippodrome is well worth seeing. If you come expecting a classic, tight, song-after-song musical, you might find parts of it wanting. But the high energy and the stunts will keep you entertained the entire time. And if you’re drawn to theater that dares — balancing spectacle with sorrow, beauty with grit — this is your tent.

You’ll leave thinking about the people behind the circus, not just the show. And sometimes, that’s more powerful than a perfect tune.

Running Time: Two hours and 20 minutes with a 15-minute intermission.

Water for Elephants plays through October 4, 2025, at the Hippodrome Theatre’s France-Merrick Performing Arts Center, 12 N. Eutaw Street, Baltimore, MD. Purchase tickets ($56–$230) online or call 410.837.7400.

Complete cast and creative credits for the touring company are in the online program here.

COVID Safety: Masks are recommended but not required. The Hippodome’s Health & Safety policy is here.

Water for Elephants will play at the National Theatre from December 9 to 14, 2025.

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“Berniece ain’t gonna sell that piano,” says literally everyone except Boy Willie. This is the definitive statement that is repeated throughout the play. Why won’t she sell it? Is it the beautiful carvings that depict the family’s history? The voices that still linger in the haunted air? The blood, tears, and sweat that run deep into the wood? Is it to honor the past? Or is it because she is terrified of the past becoming her future? And what is the underlying roar that is driving Boy Willie to defy everyone, real or imaginary, to drag the piano out of the house to sell it? Is he, too, being haunted by a past disguised as hope for a future? The fourth installment of August Wilson’s Century Cycle Celebration, The Piano Lesson is electrifying, and the strength of the Everyman Theatre cast brings us all back home.

Set in the 1930s of Pittsburgh, Pennsylvania, The Piano Lesson, written by August Wilson and directed by award-winning Paige Hernandez, tells a tale born in a constant state of struggle. A struggle between who is right and who is wrong. One between the past, present, and future. The war between ghosts and the souls that still breathe life. All centered around the complicated history of the family’s piano.

This powerful story, beginning in the era of slavery, defines a family legacy for generations. From members of the family being sold to cover the cost of the piano, to someone dying in pursuit of gaining what was felt to be freedom for the family. The recounting of the various events that all center around this spiritually and physically weighted instrument will hold you captive for the entire duration of the play. You will question the argument of sentiment over hope. And how does one truly bring honor to our ancestors?

The restless, brash, and relentless Boy Willie, triumphantly portrayed by RJ Brown, believes the past should be steamrolled to bring about a better future. However, his vigilant sister Berniece, the de facto guardian of the souls held within the piano, depicted by the talented Chinai Routté, believes the past should be forever front and center as a living reminder of the lives, stories, and sacrifices of those who came before. So, does the piano stay or does it go? And with it, the question of true ownership. Who really owns the family piano? The ghost of Sutter, or the breathing, walking descendants of the family his ancestors owned? Beautifully written and expertly portrayed, this story is not as black and white as you might feel it should be. Often, you find yourself in the misty gray of right and wrong.

Truly, this is one of my favorite plays by August Wilson because it tugs at so many emotions, and I absolutely love the haunted aspect of it. And the entire production was top-tier. Across the board, everyone should feel extremely proud of the work that was produced.

One of my absolute favorite moments was the musical one when the men sing the song of the railroad. It was strong, heavy, poignant. You weren’t simply watching them; you were experiencing their pain, frustrations, their strength, their exhaustion. Watching Jefferson A. Russell, who was fantastic as Doaker, break down sobbing on his fellow man’s shoulder was visceral.

Another moment that pulled on all the right strings was one with Wining Boy, acted by KenYatta Rogers, filled with regret over the death of the one woman he loved. Listening to him recount his life and how he failed himself and her, but still had hope because of her mere existence, was potent.

You know a role was well played when the actor and the character become one. Boy Willie was a standout. Although his cadence was just a touch too fast-paced, it convinced you of his passion and solidified his dream. And his blatant disrespect for his sister and her wishes made my blood pressure rise. While you could see his point of view, the chance that he might be misguided, or that perhaps there are potentially multiple correct answers, never enters his mind. Quite literally, it’s his way and his way only. And no one can tell him different.

And you can’t talk about Boy Willie and not speak of his sister, Berniece. Her quiet resolve hides her fixation and anger with the past. She carries the burden of family history on her shoulders. And it’s quietly killing her. She doesn’t live her life so much as just go through the motions of life. While she has no real hope for herself, she fervently tries to give hope and possibilities to her daughter. And quite literally takes a spiritual shattering to alter her forward steps to include her own self-worth and happiness.

My only disappointment was the actual showdown between Sutter’s ghost and Boy Willie. While the scene was well-crafted and eerily depicted, it would have been amazing to have a physical representation of Sutter to lay eyes on. But the scene was still well-played, and completely surreal.

The bones of the past are not buried here — they live. August Wilson’s work is still so relevant in today’s political, racial, and economically charged climate. This play offers you a chance to mourn, to reckon, and to uplift, while standing still with the tension. Overall, The Piano Lesson was an impressive way to kick off the 35th season here at Everyman Theatre, and it garners my high recommendation to catch this show while you can.

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

Piano Lesson plays through September 28, 2025, at Everyman Theatre, 315 West Fayette Street, Baltimore, MD. For tickets (starting at $55, with student discounts and Pay-What-You-Choose tickets at every performance), call the box office at (410) 752-2208 (Monday-Friday, 10 am to 4 pm and Saturday 12 to 4 pm), email boxoffice@everymantheatre.org, or purchase them online.

The playbill is here (scroll down).

Piano Lesson
By August Wilson
Directed by Paige Hernandez

CAST
Boy Willie: RJ Brown
Maretha (alternating): Payton Crosier and Mecca Rogers
Lymon: Louis E. Davis
Avery: Mack Leamon
Wining Boy: KenYatta Rogers
Berniece: Chinai Routté
Doaker: Jefferson A. Russell
Grace: Mecca Verdell

CREATIVES
Set Design: Daniel Ettinger
Costume Design: David Burdick
Lighting Design: Alberto Segarra
Sound Design: Dave Remedios
Wig Design/Hair Consultation: Denise O’Brien
Fights & Intimacy: Gerrad Alex Taylor
Dramaturgy: Robyn Quick
Stage Manager: Hannah Louise Jones
Piano Recordings: Will Lebow and Quincy Phillips

The post August Wilson’s ‘The Piano Lesson’ electrifies at Everyman Theatre appeared first on DC Theater Arts.

This magical underwater Disney classic, The Little Mermaid, presented by Toby’s Dinner Theatre, is sure to evoke childhood nostalgia in adults and spark wondrous excitement in the kiddos. The visually stunning and immersive setting, the mermaid costumes, the big musical numbers, and the iconic scenes reminded me of why I continue to fall in love with this aquatic journey of dreams and happy endings.

A most beloved heroine, our mermaid Ariel, superbly portrayed by Abby Middleton, is at the heart of this story. Her journey to walk in the sun with the very human Prince Eric, performed by the idyllic Carter Crosby, is a strange and twisted one. This journey, fraught with a vengeful sea witch, Ursula, embodied by the talented Lynn Sharp-Spears, and an unmovable father, the foreboding King Triton, admirably played by Adam Grabau, takes her through wonder, hopelessness, determination, and a last-ditch effort to gain it all or lose everything. Originally based on the book by Doug Wright and under the masterful direction of Mark Minnick, the story is skillfully told and presented amid such surreal beauty that it could stop your breath.

I will always appreciate the scenic design by Shane Lowry. It takes a special talent to create an underwater feel in the middle of a restaurant. The blue fabric and fan veils that recreate waves on a turbulent sea, the overhead jellyfish, the beautifully decorated entrances, and the moving décor — I was completely awestruck. It was just downright beautiful. Especially the scene for “Kiss the Girl.” I loved it. I will say that most of the iconic moments from the original were well done and present in this adaptation. I was very pleased with that. The only miss was that the original death of Ursula was downplayed, and I was slightly disappointed in that regard, but it was still a well-executed production.

The lighting by Lynn Joslin was another key element. It was on time and instrumental in creating the various moods throughout the play. But it was done so well, you weren’t even necessarily aware it was happening.

Another fun element was the costumes, particularly the tails for the mermaids. Hats off to Sarah King and Janine Sunday for their work as the costume coordinators. I understand to some extent why Ariel and her sisters had tails while the other merfolk didn’t. And I must be honest: I did chuckle when I first saw Ariel’s tail. It may not have been meant to be funny, and I apologize if it offends, but it was funny, cute, and in keeping with what I expected to see.

Speaking of Ariel, Abby Middleton did the most amazing job. Her voice was bewitching, strong, and clear, just what you would expect from a siren of the sea. The more well-known musical number “Part of Your World” was a ten out of ten. It was hard to contain my glee and urge to sing out during those moments. Because who hasn’t tried to recreate that moment when they’ve gone to the beach? Just me? OK.

Prince Eric, Ariel’s true love, gave a legendary performance. His vocals were exemplary, and his rendition of “Her Voice” and “One Step Closer” was hauntingly alluring. From the top of his head to the tippity tap of his toes, he was the ideal vision of what I pictured when I think of Prince Eric. His voice was the chef’s kiss to the overall picture.

But the real standout was the show-stopping Sebastian, depicted by the incomparable Elijah Henderson. He almost became the star of the show; his singing was that good. Even with the heavier patois of the Caribbean, you could understand him, and when he sang, he opened up and gave you everything. The big numbers “Under the Sea” and “Kiss the Girl” were astonishingly delightful and honestly some of the best live renditions I have heard. I was quite impressed.

And of course, this wouldn’t be a dinner theater without the food. I’m always amazed at how well everything is organized at Toby’s and how good the food is. The ribs were so very good! So seasoned and tender! Honestly, I really want that recipe. The Key Lime Pina Colada drink called the Show Stopper (non-alcoholic version) was a drinkable summertime dessert. Plus, it comes with a collectible take-home glass. The Little Mermaid–themed food names added extra fun. The variety of food is also appreciated. It’s not too much, not too little; it’s just the right amount. And there’s plenty of it, so you don’t have to worry about them running out.

Quick note: Toby’s is undergoing construction, but once you get past the parking lot, you won’t notice it. It didn’t affect the performance or the top-notch service they provide.

Overall, I enjoyed the evening out, and the show was exactly what I wanted and needed it to be. I couldn’t have asked for a better time. Toby’s Dinner Theatre continues to deliver high-caliber shows and amazing delectables to its audiences. They should feel proud of what they accomplished. It was the perfect evening for all ages, bringing a bit of sea magic to add joy to our lives. Thank you.

Running Time: 90 minutes with a 15-minute intermission.

Disney’s The Little Mermaid plays through August 17, 2025, at Toby’s Dinner Theatre, 5900 Symphony Woods Road, Columbia, MD. Tickets, including dinner and show (adult, $74–$92; child, $64–$67), can be purchased by calling 410-730-8311 or online.

The menu is here. The playbill is here.

Disney’s The Little Mermaid
Music by Alan Menken
Lyrics by Howard Ashman & Glenn Slater

CAST
Ariel: Abby Middleton
Prince Eric: Carter Crosby
Pilot: David Bosley-Reynolds
Grimsby: David James
Flounder: Nicky Kaider
Scuttle: Jeffrey Shankle
King Triton: Adam Grabau
Winward: Jaylen Fontaine
Sebastian: Elijah Henderson
Mersisters:

Aquata: Patricia “Pep” Targete
Andrina: Rachel Cahoon
Arista: Kiana King
Atina: Margaret Kelly
Adella: MaryKate Brouillet
Allana: Alexis Krey-Bedore

Flotsam: Shane Lowry
Jetsam: Joey Ellinghaus
Ursula: Lynn Sharp-Spears
Chef Louis: David Bosley-Reynolds
Ensemble: Brandon Bedore, David Bosley-Reynolds, MaryKate Brouillet, Rachel Cahoon, Benjamin Campion, Jaylen Fontaine, Vince Gover, Margaret Kelly, Kiana King, Alexis Krey-Bedore, Patricia “Pep” Targete, walker Vlahos

ORCHESTRA
Conductor/Keyboard I: Ross Scott Rawlings, Catina McLagan
Keyboard II: Reenie Codelka, Stella Monshaw, Ben Shaver
Trumpet: Wyeth Aleski, Mike Barber, Tony Neenan, Franklin Wade
Reeds/ Woodwinds: Steve Haaser, Charlene McDaniel, Noelle Presby,
Katie Ravenwood
French Horn: Becky Ballenger, Heidi Brown, Al Rise, Sarah Soisson
Percussion: Mike Feathers, Bob LaForce

PRODUCTION
Direction & Choreography: Mark Minnick
Music Direction: Ross Scott Rawlings
Lighting Design: Lynn Joslin
Scenic & Properties Design: Shane Lowry
Sound Design: Mark Smedley
Hair & Wig Design: Jayson Kueberth
Costume Coordinators: Sarah King & Janine Sunday
Production Stage Manager: Cheryl Stansfield

The post A wondrous ‘Little Mermaid’ to fall in love with at Toby’s Dinner Theatre appeared first on DC Theater Arts.

Am I a consenting adult? Yes. Am I open to all kinds of shenanigans? Yes. Am I prepared to clutch my pearls? Absolutely. Is this the most perfect show to celebrate Pride Month and give a proverbial middle finger to the antics of queer erasure? You bet your britches. This rendition of The Rocky Horror Show, produced by Iron Crow Theatre, is hands down my favorite version. Whether you are a longtime fan of this cult classic or a virgin, this show is a must-see. But please leave your judgment at the door. Or better yet, just send it on a permanent vacation and join the rest of us in our very loud, audacious Rocky Horror antics.

This adaptation of The Rocky Horror Show, written by Richard O’Brien, was directed by the most talented Sean Elias. You felt his heart and saw the result of what must have been endless nights filled with tears and sweat, brought to life in front of you. Truly a great work to witness. Most of us are familiar with the basic interactive elements of these shows, such as the newspaper, the party hat, the playing card, etc. But this show was several steps above my expectations. I don’t want to give anything away because I want you to have the same level of fun I did. The immersive experience and audience participation are top tier and exciting. You honestly cannot be disappointed with this show. The familiar storyline of the transvestite from Transylvania along with the sweet, naïve couple in need of a phone, devolving into sexual madness is as old as time. Or at least since 1975. Yet, the added quirky elements bring it up to date to 2025, keeping it fresh and relevant.

Literally every aspect of this show was marvelous. But I am going to share what made me sparkle the most. First, the set! The double staircase leading up to a double door was majestic and so beautiful! It was breathtaking! I was in complete awe just walking into the playhouse. So, congrats to set designer Bruce Kapplin on a job well done. I just want to have the most story-worthy entrance on those stairs. And that leads me to Frank ’N’ Furter, embodied by the jaw-dropping Nicholas Miles. The entrance? Incomparable. The way he took over the entire room with a single step and a smile? I am jealous. He was so much fun! It felt like the role was made for him and him alone. And the voice! The runs up and down the scale were sensational. I especially enjoyed “Sweet Transvestite” and “I’m Going Home.” It was almost as if he was an alien. I’m absolutely prepared to watch him for the remainder of the season.

Then there is Miss Janet Weiss, portrayed by the stunning and enigmatic Kristen Stickley. I loved her performance. It was completely over the top and kitschy, but in the best way possible. While I expected her to have a good voice, I was shocked that she had such a great one. “Touch-A Touch-A Touch Me” was so risqué that I think I blushed a little. I almost wanted to call her Miss Jackson because she went from innocent to nasty seamlessly.

Another staggering voice was that of Cera Baker. During her brief solo as an Usherette and in her main role as Magenta, her voice was uniquely hers and astounding. So powerful, I think it almost stopped time for a moment. Instantly recognizable, you’ll understand when you hear her.

I also appreciated the costumes and makeup design by Stacey Stephens. Frank’s fascinator at the end was marvelous, and his entrance cape with the Pride flag was stunning. I also appreciated all the silver; it was so wrong, it was right. These were added elements that brought joy and a few chuckles.

Overall, this production was worth the time, money, and effort to see. A resounding bravo to the whole cast! I have a few notes that you need to know. First and foremost, this is not kid-friendly! Unless, of course, you want to explain a few sexual positions, answer a few questions, and create an awkward environment for everyone. It’s not even teenager-friendly. This is really for mature audiences, so be mindful. There are pre-show and intermission games, such as what I have dubbed “adult ring toss” and “the best voice-over actor.” They are a lot of fun, and you should try them. There are prizes to be won and reputations to gain or ruin—your choice. There is a dubious amount of profanity and, of course, sexual innuendo, some of it rather blatant and straightforward. I say all that to say that if you are easily offended or feel sexual freedom is taboo and not for public consumption in any form, then this show is not for you. This show is also very stimulating, in that there is a lot going on, including balls, water, glitter, and essentially a sensory overload. However, I hope you will reconsider any bias you may have and open your heart and mind to the possibility of something different. I wouldn’t want you to miss out on what can easily be seen as the diamond of this year’s Pride season. Happy Pride!

Running Time: Two hours and 20 minutes including one intermission.

The Rocky Horror Show plays through June 29, 2025, presented by Iron Crow Theatre performing at Baltimore Theatre Project, 45 West Preston Street, Baltimore, MD. Purchase tickets ($45–$75) online or contact the box office at boxoffice@ironcrowtheatre.org

Visit theatreproject.org for info on the best parking spots in the 45 West Preston neighborhood.

Credits for the cast and creative team are here.

The Rocky Horror Show
Book, Music, Lyrics: Richard O’Brien

CREATIVE TEAM
Director: Sean Elias
Stage Manager/Assistant Director: Allison Bradbury
Music Director/Keys: Michelle Henning
Choreographer: Arthur Cuadros
Intimacy Director: Shawna Potter
Assistant Stage Manager: Lauren Marsh
Set Design/Technical Director: Bruce Kapplin

DESIGN TEAM
Costume Design: Stacey Stephens
Lighting Design: Thomas P. Gardner
Props Design: Soph Riscigno
Sound Design/A1: Zach Sexton
Hair & Makeup Supervisor: Brandon Ross

BAND
Guitar: Jamie Williams
Bass: Jared Davis
Drums: Brett Schatz

PRODUCTION TEAM
Marketing: Mickey Moulder
Production Assistant: Wyatt Lyions
Deck Crew: Lucy Dunn
Intern: Robbie Shapiro

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Hop, boom, bip! And all that jazz! The anticipated musical Chicago, directed by Walter Bobbie, has finally landed at the Hippodrome in all its 1920s glory, bringing to a close the theater’s 2024/25 season of amazing shows. And what a great way to end a season. A quirky play bringing you sexy, diabolical scenes, with over-the-top antics that you almost can’t handle. Obviously, an audience favorite, the cast delivered on their intentions of an evening filled with intrigue, crime, swinging music, and high kicks. Sit down and enjoy!

Adapted from the play written by Maurine Dallas Watkins in 1924, Chicago is centered around actual crimes in 1920s Chicago, Illinois. During this era of jazz, flapper dresses, and illicit decadence, murder made you a star. The lead actresses, Taylor Lane, who played a wickedly sexy but classy Velma Kelly, and Ellie Roddy, who portrayed a funny, almost desperate Roxie Hart, bring to you the dark and whimsical journey of fighting their charges of cold-blooded murder of their respective lovers. With the help of their shared attorney, who is “all about love,” Billy Flynn, performed by the surprising Connor Sullivan, their antics to gain their freedom while gaining the fame they have been dreaming of is a riotous time to be had.

First, let’s give it up to the orchestra and the conductor/music director, Cameron Blake Kinnear. They were magnificent. From beginning to end they were the perfect and active backdrop to the drama that was unfolding on stage. All the hours of practice have very clearly paid off. They keep your feet tapping and head bopping. I almost did a little jazz hands during a couple of numbers myself.

Let’s quickly chat about why you are truly reading, the musical numbers. Of course, there are the famous and favorites like “All That Jazz.” And to be honest, there wasn’t a bad note to be heard throughout the whole production. The very thunderous applause at the end of each number would confirm that notion. But I have my personal favorites for this performance.

“Funny Honey,” showcasing the melodic, steamy voice of Roxie Hart, was shamefully delightful. Her voice was clear, and powerful without overwhelming the moment. You could hear the disappointment in her voice as she sang about her husband and then the switch to rage when his betrayal during his interrogation happened. It was quite an accomplishment, and she should feel good about her performance.

Another standout performance was the “Cell Block Tango” by Velma and the Girls. The re-creation of Ann Reinking’s original choreography, in the style of Bob Fosse, by Gregory Butler was outstanding! The slinky, sexy moves with the chairs were the consummate sneaky version of a PG lap dance. And the storytelling of all the crimes was entertaining and of course kitschy and filled with humor.

Then there was the visual fun of “All I Care About” with Billy and the Girls. The large feather fans scream 1920s jazz motif, although the best part is Billy Flynn and the magical note. His breath control is otherworldly, and by goodness golly me, it was fantastic. It honestly made the whole song because it was so unexpected, yet it rounded out the musical number superbly.

However, my surprising personal favorite was “Mister Cellophane” by Amos Hart, sweetly played by Andrew Metzger. He encouraged you to see the world through his eyes, where he knew he was invisible, as clear as cellophane, if you would. While the song itself brought out feelings of pity, he owned it and gave you a bit of laughter, and dare I say hope? The number made you feel like it might not be too late for him to have his moment in the sun.

My only criticism is the lack of a change in the setting. While there were minor additions like the rain of glitter and the curtain of gold and silver streamers, the set didn’t change. It became a bit stagnant and just became this dark “thing” for the orchestra to hang out in while the performers danced around it. I was a bit disappointed by that, but not enough that it ruined the show.

Overall, Chicago is a classic and acclaimed Broadway musical for a reason. It clearly brings laughter with its dark humor and a sense of nostalgia for years past, when people “had class.” It was a divine night with an amazing cast that deserved resounding applause. So, kudos for a job well done!

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

Chicago plays through June 8, 2025, at the Hippodrome Theatre’s France-Merrick Performing Arts Center, 12 N. Eutaw Street, Baltimore, MD. Purchase tickets ($58–$230) online or call 410.837.7400.

Complete cast and creative credits for the touring company are in the online program here.

COVID Safety: Masks are recommended but not required. The Hippodome’s Health & Safety policy is here.

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It’s here! The third installment of the August Wilson Celebration Century Cycle tribute in Baltimore, Maryland: Ma Rainey’s Black Bottom! One of the more popular plays written by August Wilson, this production at ArtsCentric will not disappoint. From philosophical wisdom to the live title song, this production allows you to experience a myriad of emotions. But the most important emotion is the joy of witnessing this production taking shape before your very eyes.

This play takes place in a 1920s recording studio in Chicago. During a time when the seeds of unrest and dissatisfaction are beginning to take root. There are two main dynamics that are taking place. The tension between the band members and the struggle for power between Ma Rainey (wonderfully portrayed by Kadejah One) and her music producers. There is a lot of talk of what it means to be colored in a society that considers you less than, until they want some specific talent that you have. Even the more humorous moments are laced with inherent racism. There is talk about the validity of the “white man’s God” and the path of the colored man going forward. There are tales of nighttime horrors and how people dealt with humiliation to survive. There is a constant need for others to control Ma Rainey from her sound to her name. The music producers are always trying to “keep her in line” or to “handle her.” But she holds the line and adamantly refuses to back down. One thing you will never be able to call Ma Rainey is weak.

The tension between LeeVee (interpreted by Justin Burley) and Cutler (played by Dominic Gladden) is akin to a slow-burning fire about to burn out of control. LeeVee, with the strength and arrogance of youth on his side, has a vision for his future that can’t be dulled by the cautious advice of the past or the slower, simpler temperaments of the present. So, it really hurts your heart when you see the realization in his eyes when he comprehends how little his soul is worth to “the devil.”

Cutler, who leads Ma’s band, is often at odds with LeeVee. I admire the strength of this character while saddened by his diminishing will to fight. He no longer aspires for more but is content with being loyal to Ma Rainey and submissive to her desires.

Archie Williams plays an amazing Toledo. Always ready with his time-worn advice, he often confuses the young LeeVee. But his anecdotes bring about some of the best catalysts for conversations. Always trying to give a lesson that goes over the heads of the others, he doesn’t stop trying. He maintains a small level of hope in basic humanity.

And of course, the music producers: Irvin (portrayed by Gary Dubreuil) and Sturdyvant (acted by Brian Lyons-Burke). Irvin, Ma’s manager, is the one who always claims to have it all, including her, under control. His favorite line is “I’ll take care of it.” Even though you see him at times going through hoops to appease Ma, he knows what his end goal is and keeps at it with such ferocity it’s almost diabolical. When he finally gets what he wants, you can see the eerie satisfaction creep onto his face. That look of ownership. It’s haunting. Then there is Sturdyvant, the music producer. He is exactly what you expect him to be. But his final moment on stage brings about a chilling anger because he shows you the truth of the world. And you can’t do anything about it.

But let’s talk about Ma Rainey. From her first second onstage, her presence swallows the room. Her booming voice, her antics, her posture, her everything just completely takes over. She moves without shame or hindrance. Even when the whole world at times is against her. She doesn’t apologize for anything and absolutely demands and expects to have things her way. She knows the game that is being played. And while she knows she will ultimately lose, she still is going to do everything she can to win.

While this play is a must-see in the August Wilson Century Cycle, there are a few things to take note of: There is actual smoke when they are smoking. While I’m pretty sure it’s not tobacco (there was more of a flowery scent), whatever it was can potentially be irritating. I know I needed something to drink during intermission to clear my throat. Also, there is no assigned seating. Although the majority of the seats provide decent views of the stage, you will want to arrive on time, if not early, to get the best seating, especially if you are part of a larger party. Lastly, there is street parking available in a mixed neighborhood along with a parking lot adjacent to the building. It wasn’t a problem for me, but if you arrive late, it could potentially be a problem because you will be competing with businesses in the area that are open late.

My final note: Go see this play. It was worth the time to experience the triumph of August Wilson’s storytelling in such an intimate but well-thought-out setting.

Running Time: Two hours and 35 minutes including a 15-minute intermission.

Ma Rainey’s Black Bottom plays through April 27, 2025, at ArtsCentric, 2600 N. Howard Street, Baltimore, MD. Purchase tickets ($40) online or in person.

SEE ALSO:
August Wilson’s ‘American Century Cycle’ to play at 10 theaters in Baltimore (news story, April 3, 2024)

Ma Rainey’s Black Bottom
By August Wilson
Directed by Kevin S. McAllister

CAST
Irvin: Gary Dubreuil
Sturdyvant: Brian Lyons: Burke
Madame “Ma” Rainey: Kadejak One
LeVee: Justin Burley
Sylvester: Angelo Harrington II
Officer: Glen Haupt
Dussie Mae: Tia Thomas
Toledo: Archie Williams
Slow Drag: Grant Chism
Cutler: Dominic Gladden

ARTISTIC AND CREATIVE TEAM
Director: Kevin S. McAllister
Music Director: Cedric D. Lyles
Sound Designer: Chris Lane
Fight/Intimacy: Sierra Young
Choreographer: Shalyce Hemby
Scenic Design: Emily Lotz
Costume Design: Larry Boggs
Lighting Design: Tyrell Stanely
Dramaturg: Khalid Long
Stage Manager: Jordan Ross
Asst Stage Manager: Khalil White
Asst Costume Design: Deana Cruz-Conner
Tech Director/ Carpenter: Matt Kator
Asst Tech Director: Amiel Nuchovich
Properties Designer: Penelope Chan
Scenic Painter: Justin Nepomuceno
Sound Op: Andreus Brijbasi

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In a time where hate is enveloping us every day in the news and social media, this play becomes a beacon of light. Currently running at Baltimore Center Stage, Everything That Never Happened, wonderfully written by playwright Sarah Mantell, provides a most interesting perspective on the original play by Shakespeare, The Merchant of Venice. Instead of the traditional take that often includes negative stereotypes of Jewish people, it shows a father’s love, his heartbreak, and a transactional type of love between the young lovers.

Everything That Never Happened is set in Venice, Italy, during the year 1596. A time when the Jewish people are seen as less than and relegated to the city’s ghetto. Even with this mark upon them, they are the prime lenders for people throughout Venice and are often sought out for loans. This very simple exchange is what provides the foundational fodder for this story. The infamous “a pound of flesh” resonates so much deeper here. With the loss of one’s identity and family, so much is given up, whether voluntary or involuntary. It’s the figurative meaning behind the phrase. And when the literal pound of flesh is demanded, it resonates so much more about what is happening within a prominent city. While there are moments of sarcastic humor with dalliances of history yet to be made, this play directed by Jessica Kubzansky speaks out loudly against the commonly accepted rhetoric of a classic.

I enjoyed Erika Soto’s adaptation of Jessica. She was witty and full of energy as she seamlessly bared the complex nature of her character and the social temperature of the times. She was very much an impetuous teenager in love but unsure of her future. Her interactions were so authentic. Down to watching her pack and carry her trunk across the stage or when her only explanation of a thing was to say, “It’s a Jewish thing.”

Lorenzo, aptly performed by Nic Picou, was a typical young, naïve boy lost in his world. He was what you expected of a young man trying to woo his woman into a very loosely planned future with him. Very impetuous, and somewhat self-serving, love is important but so is his bottom line. It gives typical Shakespeare drama. I must admit although this was set in 1596, some of his requests — for example “give up everything you are and take on my name, my culture, my religion” for supposed freedom — are still being played out today. Only to add his lack of full transparency, he had me along with several audience members clutching our imaginary pearls. While you kind of wanted to pluck Lorenzo in the forehead sometimes, you could still see the appeal.

One of my favorite moments was Allison Wick’s Gobbo. I like the quiet reserve she portrayed for her character. Even though she doesn’t always understand everything going on in her employer’s home, her love for her young mistress is clear. She helps Jessica, even when it betrays her own heart. I appreciated her blatant, painful honesty, even when she used it to mislead.

The portrayal of Shylock by Leo Marks was heart-wrenchingly astounding. He provided a very human, fatherly aspect to this often negatively stereotyped character. During his brief monologue where he laments his daughter’s decision, he was so sorrowful you can’t help but feel pity for his situation. You could feel the weight of all his losses, his frustration with how the people of Venice treat him, and the constant fight just to be allowed to exist. But through it all, he holds onto being a Jew. Even until the very end, when he is forced to assimilate as part of a punishment for his supposed crimes.

I enjoyed the many layers that this play had to offer. The sadness, the honesty, the dry wit, the forgiving love of family. It is a piece that allows you the opportunity to draw parallels and to grow as a person. And while this play strays from the original, the alternate path is worth the time.

Running Time: 90 minutes, no intermission.

Everything That Never Happened plays through March 9, 2025, at Baltimore Center Stage, 700 North Calvert Street, Baltimore, MD. For tickets ($10–$79, with senior and student discounts available), call the box office at (410) 332-0033 (Tuesday through Friday, noon–5 pm), email boxoffice@centerstage.org, or purchase them online.

The program for Everything That Never Happened is available online here.

Everything That Never Happened

CAST
Jessica: Erika Soto
Lorenzo: Nic Picou
Shylock: Leo Marks
Gobbo: Allison Wick

CREATIVES
Playwright: Sarah Mantell
Director: Jessica Kubzansky
Asst. Director: Dante Fields
Orginating Composer/ Sound Designer: John Nobori
Associate Sound Designer: Caitlin Leong
Costume Designer: Mel NG
Scenic Designer; Anton Volovsek
Lighting Designer: Sim Carpenter
Associate Lighting Director: Tyrell Stanely
Stage manager: Luisa Ann Torres
Asst. Stage Manager: Caroline Ragland
Production Asst.: Sharon Zheng
Casting by: The Telsey Office Destiny Lilly, CSA

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Oh, the horror! The terror! It’s Edgar Allan Poe! Oh wait, is that Billie Holiday? There’s Frederick Douglass! A hon?! Well, thanks to the wizard adapter and director Ian Gallanar, It’s The Comedy of Errors, Hon! (mostly) by William Shakespeare, now playing at the Chesapeake Shakespeare Company. And just a small, big side note: It’s CSC’s official 100th production! So, congrats on that! This delightful, Baltimore-themed take on classic Shakespeare kept the laughter coming even before they got started! It’s a great way to become acquainted with Shakespeare for beginners and a fun take for the connoisseur. I see this becoming a fast favorite for theatergoers this season.

Even before we get started, you have the “Hawker” offering you (for purchase) Fisher’s Old Bay popcorn, Cowtails, and of course, Natty Boh. I must say, the popcorn was very tasty. It helped solidify a very “hon” vibe. You are also regaled by some classic Baltimore musical entertainment from the pre-show musicians: Greg Atkin, Holly Gibbs, Jose O. Guzman, Matt Harris, Laura Malkus, and Brendan Murray, “Crabs for Christmas” by David DeBoy (local Baltimore actor), and “Make Your Own Kind of Music” by Barry Man and Cynthia Well, made famous by Cass Elliott (of the Mamas and the Papas), just to name a few. There were some fun facts and lighthearted jabs toward our northern brothers in Philadelphia and Pittsburgh because, you know, why not? The play itself was so much fun and plain enjoyable, I was laughing the entire time.

Set in the mind of Baltimore, according to Poe, acted by Gil Mitchell, this play is more of a warm mix of all things Baltimore and Shakespeare. Based on Shakespeare’s The Comedy of Errors, the plot of the mistaken identities of the twins is still the central storyline. Two sets of twins bring chaos to an entire city through no fault of their own. It’s a whole whirlwind of a mess. But it is a fun mess to witness.

One of the things I truly appreciate is all things “Hon.” Kristina Lambdin, costume and wig designer, brought her top-tier “A” game to the party. The wigs were fun with their ribbon design, and the costumes were quintessential “Hon” attire. I even loved the little pink shoes with the bows. I kind of want a pair for myself.

Let’s give a rousing round of applause to Shakill Jamal, who portrayed Antipholus of Baltimore and Philadelphia. I appreciated how he made his character very much a typical “hood” dude from Baltimore with classic Philly candor. Hilarious. Even his strut and swagger were flawless.

Another personal favorite was Luciana, played by Dawn Thomas Reidy. I can’t quite put my little finger on it, but every time I saw her onstage, she gave me joy. From polishing the stairs to her shock-and-awe moments, it was amusing to watch her.

I also appreciated the guest appearance of Elana Michelle as Billie Holiday. While we will never have the pleasure of hearing Ms. Holiday live, we had the gratification of hearing a most pleasant rendition of “All of Me” by Gerald Marks and Seymour Simons. Her voice was achingly beautiful in this moment.

But the real MVP was Dromio of both Baltimore and Philadelphia, acted by Jose O. Guzman. He literally had me in stitches in almost every scene where he showed up. While he was given a script to perform, he gave back sheer enthusiastic entertainment. The number of times he was yanked up by a variety of people was laughable. He did a fabulous job of creating and maintaining the mayhem. Even his “ewww” moments were funny. Honestly, the way he says “spherical” to describe his brother’s wife was a chef’s kiss for me. And I do hope he finally got a chance to eat a proper sandwich.

Overall, this adaptation was everything I wanted and needed it to be. I openly enjoyed the show and was besotted with the random moments. For example, the dancing gorilla. It was completely unexpected, but I’m happy it happened. You’ll just have to see that tidbit for yourself.

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

It’s The Comedy of Errors, Hon! plays through March 9, 2025, at Chesapeake Shakespeare Company, 7 South Calvert Street, Baltimore, MD. Purchase tickets ($28–$55) by calling 410-244-8570, visiting the Box Office in person, or ordering online.

The program for It’s The Comedy of Errors, Hon! is online here.

It’s The Comedy of Errors, Hon!
(Mostly) by William Shakespeare
Adapted and Directed by Ian Gallanar

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My jaw is still dragging somewhere on the floor of the Hippodrome Theatre. I am completely awestruck by the phenomenal musical The Lion King presented by Disney Theatrical Group and executive producer Anne Quart, under the very talented direction of Julie Taymor. Quite literally the best musical I have ever had the pleasure of witnessing. This show will forever be a core memory of pure, unmitigated joy. This trip into the wild African safari to follow Simba, acted by Erick D. Patrick (elder) and Bryce Christian Thompson (younger), as he navigates the arrogance of his youth, the sense of guilt after loss, and sheer determination after self-discovery, was profound.

Adapted from the book of the same name written by Roger Allers and Irene Mecchi, this musical doesn’t just come to life; it gives you life. From the very first note, you begin an astounding journey to Pride Rock in the most amazing way. Do yourself a favor and go ahead and spring for the orchestra seating. It’s well worth it.

The production is exquisite. The scenery, designed by Richard Hudson, made me completely spellbound. It was unbelievable that all that beauty was contained inside the Hippodrome on a cold February night. It was simply stunning. Then the music! I knew it was going to be some kind of amazeballs when I saw not one but TWO sets of drums in the balcony section. And they did not disappoint. Special kudos and brava to Karl Shymanovitz, the music director, and the music supervisor, Clement Ishmael. And the costumes! With diaphanous fabrics that flowed everywhere along with vibrant colors that accentuated the grace of all the characters, Julie Taymor, costume designer, did a stellar job in bringing in another layer to this feast for the eyes. Everything was so lovely and just absolutely perfect.

Most of us are familiar with the big numbers of the musical — “Circle of Life,” “I Just Can’t Wait to Be King,” “Hakuna Matata” — but the whole show was a sheer delight. My personal favorites were “They Live in You” and “Shadowland.” “They Live in You,” performed by Darnell Abraham, the intimidating but warm Mufasa, was enthralling. It was sung with such strength and soul that I never wanted to be a lion cub more than in this moment. His voice reached the raptors effortlessly and filled me with such jubilation, my eyes began to tear up. His voice can change lives.

Then there is the consummate flawlessness of Thembelihle Cele, who portrayed Nala. Her voice broke my heart during her rendition of “Shadowland” and then put it back together again. She was so transcendent and powerful, yet she maintained a softness that held me captive for the entire song.

Another standout was Mukelisiwe Goba’s Rafiki. Her voice instantly captured attention. With the help of the ensemble, she gave such depth and a refreshing take on “Circle of Life” that it was like hearing it for the first time. I could feel her happiness in every note. Even when she wasn’t the main voice, she was still very profound and moving.

There was not one bad note the entire night. I don’t think I have ever felt such wondrous harmony on an emotional level as I experienced during this show. The entire cast should feel proud and accomplished.

Normally, I try to mention one thing a production could improve upon. I have nothing — nothing at all. It was better than perfect, and they need not change anything. The energy was high, the acting was glorious, the rhythm was spot on, and even the little bit of regional humor was the quintessential touch to this award-winning musical. I. Loved. It.

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

The Lion King plays through March 2, 2025, at the Hippodrome Theatre’s France-Merrick Performing Arts Center, 12 N. Eutaw Street, Baltimore, MD. Purchase tickets ($40–$474) online or call 410.837.7400.

Complete cast and creative credits for the touring company are in the online program here.

COVID Safety: Masks are recommended but not required. The Hippodome’s Health & Safety policy is here.

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Humans without humanity is like fried chicken without seasoning, a complete waste.

Is she a robot? No. She is what is considered an example of the quintessential human. Emotionless, Caucasian, no diseases, no mental health issues, longer life span. An engineered test tube baby. She is perfect. In a world low on resources, humans are now dedicated to fixing the colossal mess left to them by their forefathers. But now there is a different issue. The increasing lack of humanity in humans. The loss of compassion, emotions, soul. Though there were a few disjointed scenes, this world premiere was an ingenious piece of artistry. Produced by Rapid Lemon Productions at The Strand Theater, Honey Bee Baby — brilliantly written by Erlina Ortiz and directed by Jalice Ortiz-Corral — brings you a glimpse of life in a world of extremes.

Honey Bee Baby is set during a time in a near-apocalyptic world with no bees, storm surges with 200-plus mph winds, overpopulation — and test tube humans are the elite. Normal life is hiding illegal children from the government, passing mandated tests to become a parent, risking imprisonment if you have an unsanctioned birth, and eliminating those children who fail to meet the standard. The “Randoms” are citizens who live in constant fear of the wrath of the government for even the smallest infraction, like having any kind of emotional display. Or being overheard talking about anything that might be viewed as problematic. These citizens are seen as a lower class of humans because they were brought into the world through random genes by people who had a child in the historical way. Therefore, they are subject to failures of human mediocrity like anemia and depression. The “Engins” are the citizens that have been engineered to perfection. They have better jobs, live underground where it’s safe, and lack the essence of humanity. They are the privileged ones. These two worlds collide in the middle of an ice cream shop. A little girl’s fight for her life battling between the tight box she must fit into and her nature comes to a head during the onset of a storm.

Melisa, intensely portrayed by Rakell Foye, is a Random citizen who desperately wants to become a mother. It’s her obsession. She studies constantly, dreams about it, and becomes extremely upset when her husband, Ray, warmly acted by Isaiah C. Evans, suggests waiting. Trust me when I say the fact she showed any emotion in this world is paramount to being in complete hysterics. Her energy and her contained angst felt so real I almost teared up for her. There is a moment, though, when she shows her chutzpah. I loved that for her.

Sharon Maguire was one of my favorite actors for her portrayal as Mother. An elite Engin citizen, she was so robotic in her emotionless responses, I really was questioning her humanity, so much so that at one point, I even considered her a soulless engineered device pretending to be human. Although, for the most part, she had the emotional intelligence of an ice-covered rock, it was interesting to see how frustration, anger, and violence still affected humankind. The fact she questioned whether she “felt sad” was funny but so disturbing.

Even though the costumes didn’t stand out, Deana Fisher Brill, who designed them, did an amazing job showing through the clothing the class separation and the bleakness of this world. Grey was the color of choice for the Randoms, while a mustard yellow was the only real color to be seen anywhere, and it was reserved for the elites. It was another reminder of the clear separation and the lack of joy in this society. Even the ice cream looked like a disappointment.

My only real question is the placement of the scene when supposedly Melisa visits the doctor. While I understand the importance and the gravity of this scene, I have questions about the timing. Who stops by the doctor’s office after going to the ice cream parlor when you are being told you need to hurry home before a major storm arrives? A theory was toyed with that maybe in this particular scene, the actress was supposed to be portraying someone else, but I’m not sure. Honestly, I was a little confused by the sequence of events here, though it wasn’t enough of a detraction to warrant missing out on such an interesting piece of work. I absolutely enjoyed this production.

Overall, this was a great premiere. Even though various “isms” were touched on, there was some humor to be found. It was compelling to see how life works in a world on the brink of its final demise and how society will shift moral judgment to validate continued survival. It really makes you question how much of your thought process is brainwashing and how much is authentic. It was a great ride, and I enjoyed it immensely. In this little pocket of a community theater, a great play was born.

Running Time: One hour and 45 minutes including one intermission.

Honey Bee Baby plays through January 26, 2025, presented by Rapid Lemon Productions, performing at The Strand Theater located at 5426 Harford Road, Baltimore, MD. Purchase tickets ($25, general admission; $10 on “Industry Night,” January 6 ) online.

COVID Safety: The matinee performance on January 19 will be face masks required. Masks will be available at the box office.

Honey Bee Baby
By Erlina Ortiz
Directed by Jalice Ortiz-Corral

CAST
Clarisa: K.S. Garner
Melisa: Rakell Foye
Ray: Isaiah C. Evans
Mother/Joy: Sharon Maguire
Father, Officer, Anchor, Resucer: Pierre Walters
Ashanay, Weatherperson, Adama, Right, Officer 2: Valerie Lewis
Victoria, Doctor, Left: Adanya Koger-Hobson
Maria: Kaitlyn Fowler

CREATIVES
Stage Manager: Janis Beltran
Set Designer: Justin Nepomuceno
Lighting Designer: Martin Smith
Costume Designer: Deana Fisher Brill
Sound/Projections Designer: Max Garner
Combat/ Intimacy Director: Mel Gabel
Photographer: Shealyn Jae
Assistant Stage Manager: Peter Hannon
Stage Management Intern: Macario Lenderos

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