Who hasn’t felt alone, out of place, or a little weird at times? Héctor, the Electric Kid taps into these feelings and explores what could happen when imagination, humor, and a touch of magic help us embrace who we are. 

Ixchel Hernández shines as Héctor, a curious boy full of questions about himself — is he tall enough? Why does he have freckles? He watches other kids play but can’t quite bring himself to join in. Supported by his older brother Hernán (a charming Camilo Linares) and his kind, practical mother (a warm Nadia Palacios), Héctor longs for something more. 

Director Mauricio Pita’s nimble production draws audiences in from the start. In Héctor’s living room, fish sway to music and a cute puppet dog, Basta, bounces around the stage — and even into the audience — in search of treats. When Mom invites Héctor to her job at her auto shop to lift his spirits, the show’s inventive design by Matt Liptak transforms the family dining table into a car complete with wheels and headlights, surrounded by whimsical cardboard cutout vehicles that fill the stage with color and motion.

An energetic ensemble featuring Delbis Cardona and Camila Cossa keeps the fun rolling, encouraging the audience to make the sounds of revving engines, screeching brakes, and blaring horns for a raucously good time.

One especially clever moment has the cast wearing costumes that spell out the word WEIRD, reflecting Héctor’s insecurities — then shifting letters to form WIRED, signaling his newfound spark. Enter a flamboyant magician (dazzlingly costumed by Rukiya Henry-Fields in a purple cape) who tells Héctor that the light he’s searching for is already inside him. Still, Héctor must learn that lesson the hard way. A botched attempt to connect car battery cables turns him into a conduit for electricity — literally wired — his emotions triggering blackouts whenever he’s overwhelmed.

Through trial and error, Héctor discovers that the wizard was right: his light truly comes from within. His confidence grows as he decides to attend a birthday party, with audience volunteers joining him onstage for cheerful games and sing-alongs.

Beautifully bilingual, Héctor, the Electric Kid blends Spanish and English with ease, using playful songs and audience participation to help children learn new words while exploring big emotions. The story’s joyful spirit carries through, though one thread could use a bit more resolution. The program asks, “Now Héctor is electric. Can Héctor manage his new power?” — a question the play never fully answers. When Héctor’s emotions cause the school’s power to short out, the kids cheer for extra recess, but it’s unclear whether his electricity ever fades or transforms into metaphorical “inner light.” A clearer closing moment showing that he’s truly living from his own confidence would make the ending stronger.

This delightful new work is part of GALita, the children’s theater branch of GALA Hispanic Theatre. Since 1980, GALita has created bilingual productions that inspire joy, discovery, pride, and cultural identity in young audiences ages 4 to 12, featuring both new plays and adaptations of classic Latin American stories.With its inventive staging, lovable characters, and heartfelt message, Héctor, the Electric Kid is a bilingual treat for families — a story that reminds children (and adults) that being a little “weird” might just be where the magic begins.

Running Time: 60 minutes with no intermission.

Héctor, the Electric Kid plays through November 1, 2025, at GALA Hispanic Theatre, 3333 14th Street NW, Washington, DC. Purchase tickets ($10–$12) online. For more information, visit galatheatre.org or call (202) 234-7174.

This world premiere bilingual musical is appropriate for all ages, aged 5 and up.

The cast and creative credits are downloadable here (scroll down). 

Héctor, the Electric Kid
Book and Lyrics by Cornelia Cody (El Salvador/USA)
Directed by Mauricio Pita (Venezuela)
Music by Aldo Ortega

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Reggie D. White’s Fremont Ave. — now having its world premiere at Arena Stage in a co-production with South Coast Repertory — captures something rarely seen onstage: the shifting, tender, and turbulent bonds between Black men across generations.

The story unfolds over three acts that span six decades. In Act One (1968), George Plique (Bradley Gibson) falls in love with Audrey, a strong-willed housekeeper raising her son, Robert. In Act Two (1990s), George’s now-grown stepson Robert (Gibson) gathers with his friends Frank, Walter, and Tony for another of their legendary card games. And in Act Three (2020s), an older George and Robert reckon with their family legacies through Robert’s son, Joseph (Gibson again), who is gay, and Joseph’s lover, Damon, the son of Walter. (Gibson impressively plays three roles — George, Robert, and Joseph — across time.)

That simple throughline grounds a sprawling, funny, and emotionally raw play. White’s script is both wide-ranging and specific — rooted in the language, humor, and rituals that sustain Black male friendships even when words sting.

At its core, Fremont Ave. celebrates camaraderie: the card-table trash talk, the easy laughter, the enduring care that undergirds even the harshest arguments. The men call each other out, talk over one another, wound and forgive in a rhythm that feels lived-in. 

George anchors it all. Gibson gives him a disarming gentleness in 1968 as a young music therapist with creative dreams and an almost naive belief in love. His tentative romance with Audrey (Jerrika Hinton, sharp and unsentimental) sparks the play’s emotional foundation. Audrey is practical, bruised by life, and wary of being rescued. When she storms out after George confesses his love, we fear it’s over — but her eventual return, humbled and open, becomes the origin point for the Plique family saga.

Around them orbit Wildlin Pierrevil’s peacekeeping Frank, Jeffrey Rashad’s sensitive Tony, and Stanley Andrew Jackson’s swaggering Walter. They’re professionals — lawyers and executives — but their connection transcends class. Lili-Anne Brown’s deft direction keeps the banter fluid and musical, with card games that seem to dance through time.

By Act Two, the setting has shifted to the 1990s, and the ensemble shines as the generational baton passes. Gibson reappears as Robert, now part of the card-table circle. The script ripples with the rhythms of age and inheritance: who has lived up to his potential, who has disappointed himself, and who’s pretending not to care. André Pluess’s sound design bridges the eras with a buoyant soundtrack — from disco to R&B to house — anchoring the men’s evolution in a vivid cultural timeline.

The play’s final act, set in the 2020s, shifts in tone and focus yet again. Older George (Doug Brown) and Older Robert (Kevin Mambo) face the emotional reckonings that come with age, legacy, and regret. Meanwhile, Robert’s son, Joseph, struggles to live authentically with his partner, Damon (a magnetic Galen J. Williams), who bursts in with a flamboyant, Vogue-inspired energy. Their chemistry — equal parts tender and defiant — feels like the next frontier of the story’s long meditation on Black masculinity.

At times, Fremont Ave. teeters on sitcom territory — especially in its late-play humor and a jarringly timed sexual interlude — but White always brings the focus back to love and survival. The generational scope is ambitious, and though some transitions blur, the emotional throughline remains strong.

A weaker thread is the portrayal of Audrey, who sometimes reads as a one-dimensional scold before morphing into a sainted matriarch offstage. Still, Hinton grounds her in pain and pride, and costumer Jos N. Banks gives her later-life “church lady” looks a visual authority that matches her evolution.

Tim Mackabee’s versatile set, with its mid-century furniture and clean architectural lines, transforms elegantly across eras. Lighting designer Kathy A. Perkins moves the action fluidly through decades — sunlight slanting across those back windows in one act, dusky blues signaling reflection in another. Each element reinforces Brown’s rhythmic pacing and the play’s musical pulse.

If there’s one historical beat missing, it’s the larger turbulence of 1968. The assassination of Dr. King and the nationwide grief that followed go unmentioned — a surprising omission in a work so invested in the emotional lives of Black men. Even a brief reference might have contextualized the deep ache of Act One and the prideful optimism of the third-act Obama-era nod.

Still, the piece lands as a triumph of spirit. White’s script captures both the sacred and the ridiculous in male friendship. His characters fight, forgive, drink, flirt, and age together. The production’s scale — ten fully drawn roles, multiple timelines, and a livewire sense of humor — makes Fremont Ave. feel both intimate and operatic.

By the time the older men reflect on their lives, the laughter and music echo like old memories. What remains is the bond — the unbreakable brotherhood that endures through heartbreak, shifting norms, and decades of change. On the 30th anniversary of the 1995 Million Man March, Fremont Ave. feels not just timely but necessary: a jubilant, complicated love letter to the Black men who show up for one another, generation after generation.

Running Time: Two hours and 30 minutes, including one 15-minute intermission.

Fremont Ave. plays through November 23, 2025, in the Kreeger Theater at Arena Stage at the Mead Center for American Theater, 1101 Sixth St SW, Washington, DC. Tickets ($49–$118) are available online or through TodayTix. Tickets may also be purchased through the Sales Office by phone at 202-488-3300, Tuesday through Sunday, 12-8 pm, or in person at 1101 Sixth Street SW, Washington, DC, Tuesday through Sunday, two hours before the show begins on performance days.

Arena Stage’s many savings programs include “pay your age” tickets for those aged 35 and under; military, first responder, and educator discounts; student discounts; and “Southwest Nights” for those living and working in the District’s Southwest neighborhood. To learn more, visit arenastage.org/savings-programs.

The program is online here.

Fremont Ave.
A Co-Production with South Coast Repertory
By Reggie D. White
Directed by Lili-Anne Brown

SEE ALSO:
Arena Stage announces cast and creative team for world premiere of ‘Fremont Ave.’ (news story, September 16, 2025)

The post Tender and turbulent Black male bonds in ‘Fremont Ave.’ at Arena Stage appeared first on DC Theater Arts.

French Cupcakes by Neal Learner is a fluffy, engaging, world-premiere musical about allowing ourselves to dream and the reality when those dreams just don’t come true. The story is set in a midwestern college town, where French café owner Pierre, played with aplomb by Aref Dajani, dreamed of introducing Americans to delish French baguettes to replace the pasty white stuff they call bread. The years have taken a toll on his quaint shop to the point that he’s forced to sell his beloved bakery. But to whom? Well-heeled Dana Miller, played with steely-eyed focus by Cathy McCoskey, is ready to offer a mega-buck corporate franchise, while a young, aggressive MBA upstart, Bridget Anderson, played assuredly by Brett Jordan, promises even higher revenue options without succumbing to the “Big Bean” hierarchy.

Daughter Tina, played with earnest appeal by Camilla Wilbraham, functions as the café manager but only temporarily while she anxiously hopes to (finally) pass her graduate exams to become an international policy ambassador. Apollo Yong is a standout as Nick Butler, a wannabe-famous country music singer-songwriter awaiting reviews for his debut album. Both have to face the music when their hopes and dreams are dashed. While his rejection letter is hilarious, Nick takes the news in stride and discovers hidden gifts and talents when Tina needs some emergency assistance, and he ends up baking delicious croissants. The showdown of what happens to the bakery includes a tantalizing tango, “I Want You,” with Dana and Bridgett literally pulling at Pierre to make a decision. His choice and results play out in the second act, where the characters make peace with the circumstances they’re in instead of flinging headlong into turmoil and despair. The music and songs help ease the disappointment, along with a love interest that develops along the way.  

Director Michael Fowle keeps the cast of over 20 performers moving comfortably along the stage, and the trio of Frenchie-style baristas is a hoot (Maureen Freshour, Catherine Taylor, and Maria Getahun). They welcome the audience and open the production with cell phone notices and emergency exits, then shimmy along the entire show offering commentary and reactions like an animated chorus. With French berets and black-and-white striped tops (neat costuming by Carole Glover), they swerve and sway and even bust out in a can-can or two with zest. 

The ensemble fills the café with customers, stands in line for service, and even takes on a triangular Les Misérables resistance formation extolling Vivé La French Cupcakes. The set design by Lynne and Grant Wagner and Leah Nadelman uses movers in white hard hats at intermission to convert the cozy, cluttered though homey café into a pristine white, streamlined corner spot. Customers fill the joint that’s finally making more revenue, but the gloomy baristas indicate that money isn’t everything. Nick and Tina make new dreams come true as reflected in their musical numbers — “When Something Special Comes Along” and “Let’s Make This Our Own” — with new approaches, possibilities, and opportunities for all.

Musicians Paul Rossen on piano and keyboard and Chip Carvell on guitar blend beautifully with Taha Pulvamacher’s enchanting violin.

Per the director: French Cupcakes “is a reminder that dreams are not fixed destinations. Sometimes they falter, sometimes they shift, and sometimes they surprise us by leading somewhere even sweeter than we imagined.”  

French Cupcakes is written, directed, and performed with charm, panache, and a good deal of whimsy for a chucklingly good time.

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

French Cupcakes plays October 17–19, 2025, presented by Bethesda Little Theatre, at the Writer’s Center, 4508 Walsh St, Bethesda, MD. Performances are Fridays and Saturdays at 8:00 PM and Sundays at 2:30 PM. Tickets are $28 general admission ($22 for senior citizens and military servicemembers and $18 for children 12 and under) and available by e-mail (bethesdalittletheatre@gmail.com), by phone (202-796-3431), or online.

Credits for the cast, creative team, and crew are here.

French Cupcakes
By Neal Learner
Director: Michael Fowle
Music Director: Paul Rossen
Choreographer: Catherine Oh

SEE ALSO:
‘French Cupcakes’ is on the menu at Bethesda Little Theatre (preview by Kaitlyn Gibbens, October 10, 2025)

The post Bethesda Little Theatre’s new musical ‘French Cupcakes’ is delish appeared first on DC Theater Arts.

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

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

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

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

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

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

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

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

Running Time: 60 minutes with no intermission.

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

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

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

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

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

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

The post ‘Not Your Mother’s Goose!’ romps with nursery rhymes at Adventure Theatre  appeared first on DC Theater Arts.

The Woman in Black is a psychological thriller that has been performed in theaters ranging from Broadway to community theaters, including DC regional theater last year, on the West End in London for years, and is now touring England. The Rockville Little Theatre production does the script justice with just the right amount of tingles.

From the outset, the production emphasizes the theatrical aspects of the story by framing the back of the set within a picture frame, and with the infamous ghost light lit and centered on the dark stage. Kipps enters and cautiously begins to interact with the Actor he has hired to help him perform an autobiographical tale he has written, repeating his text in various modes as directed. The interaction and rapport between the two form the duo’s point-counterpoint for the entire play. The dialog ebbs and flows with Doug Richesson as Kipps vacillates as he tries to accomplish his mission or retreat in defeat, while Tom Howley, as the Actor, goads him on, encourages, and placates the unsettled visitor.

And there’s lots to be unsettled about. Somewhat like the tale of the Ancient Mariner, Kipps acknowledges that he’s not an actor; his whole demeanor makes that clear, but he’s compelled to tell his story and pushes through his hesitancy, a commendable performance by Richesson. Tom Howley’s Actor is just as effective at bantering to ease the tension with the bluster of a seasoned performer and wannabe director, who organizes the sequences and even demonstrates performing the character’s role.

Filled with lyrical writing and Gothic style, the first half sets the eerie tone as Kipps recounts the devastating loss in his life. The deeper he gets into his own script, the more he flashes back, returning to the house to excise the thoughts and memories in a shadowed bedroom behind a light gauze scrim. Here’s where he starts to see the apparition of the title character, beautifully rendered with lighting design by Stephen Deming and Andre Harasty. The faint iridescent appearance is so fleeting, it seems to be a moving projection along the back recesses of the stage, but when the figure moves forward into the dim light, the impact is stunning. Nancy Somers is the titular Woman in Black whose curdling screams can be felt as well as heard, with incredible alacrity, sound and effects by Aaron Skolnik. Her fleeting movements across the stage in bustled black costuming by Harlene Leahy take you back to the turn-of-the-century era in a forbidden mansion.

As the tale unfolds through time and space (and lots of dialogue), we learn that while the entire town is aware of and familiar with the woman’s ghostly presence, her sorrow has particular relevance to Kipps. By the end, when the devastating details are disclosed, he seems to be physically relieved as he finally completes reciting the script, but just when he seems released from the apparition’s hold on him, the Actor sees her. So, is she real? Has Kipps really been exonerated from his demons? Have we?

The eerie, mysterious imaginings of The Woman in Black linger like vapor wafting through the air, drenching the atmosphere. The excellent performances in this Victorian push-and-pull duo, along with solid direction by Noel Schoonover, make this an ideal offering for the ghoulish season.

Running Time: Two hours, including a 10-minute Intermission.

The Woman in Black plays through October 5, 2025, presented by the Rockville Little Theatre, performing at the F. Scott Fitzgerald Theatre, Rockville Civic Center Park, 603 Edmonston Drive, Rockville, MD. Purchase tickets ($24; $22 for students and seniors) online, by calling the Box Office (240-314-8690), or by email: (boxoffice@rockvillemd.gov).

The Woman in Black
Based on the novel by Susan Hill
Adapted by Stephen Mallatratt
Directed by Noel Schoonove

CAST
Actor: Tom Howley
Kipps: Doug Richesson
The Woman: Nancy Somers
Understudy: Joseph Coracle

PRODUCTION TEAM
Director: Noel Schoonover
Producers: Jerry Callistein, Teresa Gilcrist
Stage Manager: Denise Gilmore
Assistant Stage Manager: Ali Saffell
Set Design: Noel Schoonover
Set Construction: Steven Leshin
Scenic Lead Painter: Chuck McCarter
Properties Design: Laura W. Andruski
Set Dressing and Props: Laura W. Andruski, Isabel Baker, Ali Saffell
Lighting Design: Stephen Deming, Andrew Harasty
Sound Design: Aaron Skolnik
Costume Design: Harlene Leahy

The post Thriller ‘Woman in Black’ gives tingles at Rockville Little Theatre appeared first on DC Theater Arts.

The timeless Pericles tale has it all: love that prevails over death, resurrection, jealousy, intrigue, rescuing a virtuous maiden from debauchery — a reminder that sex trafficking is as old as time, as is incest, also alluded to here — and princely fortitude in surmounting constant treachery. Shakespeare shakes out all the hefty human themes, includes a narrator who ties the various locales and multiple characters together, and ends the play with a touching resolution that love can conquer all, even though it may take a while and cross generations. Scattered over time and geographical regions, the tale is often tucked along the periphery of the canon as “attributed” to Shakespeare and possibly other writers. Lumina Studio Theatre tackles the play’s many moving parts with ease, navigating through shipwrecks, love, loss, and rejuvenations sprinkled with laughter, humorous touches, and eventual reunions.

The performers portray their various characters with zest and zeal. Keith Anderson is particularly effective as the title character, who gets through life’s travails with a wholesome stride and emotional integrity. Anderson is nicely paired with Dre Weeks as Thaisa, the enduring wife who supposedly dies in childbirth and whose lifeless body is encased and thrown into the sea. Pericles is bereft with grief and loss but sails along through the years, and thanks to a stranger’s mystical healing powers, reunites with both his beloved wife and daughter. The next generation of couples is also portrayed by an effective pairing of Aziza Afzal as lovingly innocent Marina and Dana Cook as the nobleman who recognizes her virtue and unknowingly reunites the family. Kelly Newman O’Connor is steadfast as the narrator/chorus who can snap into alternate characters in a blink. The ensemble moves seamlessly through the ages and locales with choreographed patches of swashbuckling fights, dances, and even jousting, thanks to the winning direction by Kelly, John O’Connor, and David Minton.

Projections by Ron Murphy and videography by Liz Porter tell the various stories and the locations with maps projected on the back wall depicting a total of five kingdoms with regal Greek columns and landscapes. Sound design, also by Murphy, covers the gamut of ancient musical interludes and sound effects of cackling thunder and shipwrecking storms. Costumes by Kelly Newman O’Connor are a marvel of brocaded glittering robes with large swaths of cloth wrappings for the regals, while the starving famine victims bundle in threadbare coverings. Lighting designer Hailey LaRoe bathes the set in hues of blue for the ocean and angry reddish blotches for the various stormy upheavals.

Catching Lumina Theatre is always a good time, but this production is particularly poignant to see director emeritus David Minton back on stage, hitting the boards with glee. He’s usually backstage directing and is part of a directing trio for this one. I’ve watched his shows for years, but this is a rare treat to enjoy his twinkling spirit bouncing and chuckling along with vigor as part of the ensemble of fun characters with everyone enjoying the gift of theater. As co-executive director Sophie Cameron said in a recent interview, “Everybody needs theater, and the stage is the best teacher.”

That’s the wonder of Lumina Theatre — they exude a freshness, discovery, and exuberance for all aspects of performance and theater that bring everything to life. The fascinating origin story helps explain the group’s unique approach — it was founded in Brooklyn, New York, in 1995, built on the belief “that young actors can perform brilliantly using the classics in imaginative ways; that actors and audiences can grow from barrier-free, intergenerational performances; and that theater discipline and creativity are soul mates that belong to the entire community.” The group moved to Takoma Park, Maryland, in 1997 and has been a marvel of superb family theater offerings ever since. As described in the program, “Lumina Theatre Group is a jolly band of community members composed of alumni, the families of alumni and friends to Lumina new and old, who love to perform together.” And it shows. While the young people are showcased twice annually in spring and fall, this is the first fully staged adult production, since 2018. Here’s hoping Pericles is a sign of resurgence for plenty more Lumina Studio Theatre offerings to join the young people’s mainstage shows for years to come.

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

Pericles plays October 3 and 4, 2025, presented by Lumina Studio Theatre’s Lumina Theatre Group, performing at the Silver Spring Black Box Theatre, 8641 Colesville Road, Silver Spring, MD. Tickets ($12–$18, general seating) may be purchased online, by calling (301) 565-2281, or by emailing office@luminastudio.org.

Pericles
By William Shakespeare
Directed by Kelly Newman O’Connor, John O’Connor, and David Minton

CAST
Kelly Newsman O’Connor, Ian Fore, Grace Sperber-Whyte, Dana Cook, Keith Anderson, Kit Newman, Liz Porter, Aziza Afzal, Ritchie Porter, Dre Weeks, David Minton, John O’Connor

PRODUCTION TEAM
Costume Design: Kelly Newman O’Connor
Lighting Designer: Hailey LaRoe
Sound and Projection Design: Ron Murphy
Original Song: Dre Weeks
Show Artwork: Cynthia Friedman
Videography: Liz PorterProduction Managers: Sophie Cameron & Meg Lebow

COVID Safety: Masks are encouraged but optional.

The post Lumina Studio Theatre tackles Shakespeare’s ‘Pericles’ with ease appeared first on DC Theater Arts.

[This review, originally published September 1, 2025, under a slightly different title, has been revised at the request of Theater Alliance so as not to reveal certain information about the play’s characters.]

In today’s upside-down reality, sometimes it’s hard to keep up with what’s real, what’s not, and what surreal situation is totally accepted as normal. The new play now at Theater Alliance, fire work by Mary Glen Fredrick, is a peek inside an alternate dystopian reality where labor and survival have been twisted into strange new forms, and rules we take for granted no longer apply.

Eleanor and Bartholomew are glass factory workers who create massive fireworks to entertain the otherwise dreary populace at night. Eleanor’s family depends on her earnings, and her desperation for work is palpable. As much as she loves and appreciates her “play husband” Bartholomew, she’s nearly enraged when he is selected as foreman with increased pay — just pennies more a day. A ragtag crew from the other side of town, nearly feral in nature, piques her interest as they play an aggressive dodgeball game they call “Eat the Rich” and introduce Eleanor to thinking beyond her meager existence. What if they could use firework munitions to teach the overclass folks a lesson? Make-shift bombs in reckless hands — what could go wrong?

The hijinks of this crew are disturbingly funny. They light joints and smack each other around in a Lord of the Flies–type hierarchy. Andreá Bellamore plays Eleanor with gritty determination while Solomon Langley’s Bartholomew anchors the ensemble, trying to be reasonable and cautious, and thus smacked down as a “traitor” to their proletariat cause. All of the actors bring rambunctious energy to their roles. Madison Norwood as Fox is strategic as she maneuvers her friendship with Eleanor to get the task done; Alina Collins Maldonado’s Lula has a no-nonsense gravitas that’s best not to cross; Victoria Gómez’s Geraldina bounces about with tireless energy, while Eric Lane is impressive as nonverbal Tug, who uses his own made-up hand gestures to relay his messages with unmistakable clarity. Executive Artistic Director Shanara Gabrielle directed the show with ferocious physicality and verve, while Nikki Mirza handled the rough-and-tumble choreography and tussling intimacy.

In one absurd bit, the major capitalist character, Sandstone, is played with exaggerated pomp — top hat, shaded half-rim glasses, and walking stick (Sebastian Cummiskey and Chase Carolyn Williams alternate in the role). A ringer for the Monopoly rich banker, Sandstone struts around as the others genuflect, spouting about the need for order and maintaining the status quo. The scene provides a much-needed hoot, highlighting the bizarre scenario while showcasing the company’s artistry, including Danielle Preston’s marvelous handiwork costuming the upper-crust Sandstone and the ragged, disheveled motley crew.

Last but certainly not least, light and sound by Yannick Godts and Matthew M. Nielson, respectively, elicited oohs and aahs with massive firework displays and explosions splashed across the ceiling and the nicely designed set by Gisela Estrada.

The unsettling premise of fire work is uncomfortable and disturbing, but maybe it’s time to get pushed out of our comfort zones. The theater says of the show, “With heist thrills and disturbingly funny twists, fire work ignites a fierce, anti-capitalist fable for our times; set in a heightened, slightly absurd world where past and future blur, it explores survival, love, friendship, and the explosive cost of complacency in a system built to burn us out.”

Kudos to Theater Alliance for collaborating with the National New Play Network on this Rolling World Premiere with Unicorn Theatre (Kansas City, Missouri) and The VORTEX (Austin, Texas). The production says a lot about smaller theater engines that keep going in these stringent times. The explosive fire work is a testament to the resilience of artists compelled and committed to provide space and consideration for exciting new voices and works.

Running Time: Approximately 90 minutes with no intermission.

fire work plays through September 21, 2025, presented by Theater Alliance performing at The Westerly, 340 Maple Drive SW, Washington, DC 20024. Showtimes are Thursdays and Fridays at 7:30 pm; Saturdays at 5:00 pm and 8:00 pm; Sundays at 3:00 pm. Tickets ($40) can be purchased online, from the box office at boxoffice@theateralliance.com, or at (202) 241-2539. Discounts are available for students, seniors, active and retired military, East of the River neighbors, and industry professionals; details here.

COVID Safety: Masks are optional.

fire work
By Mary Glen Fredrick
Directed by Shanara Gabrielle

A National New Play Network Rolling World Premiere with Unicorn Theatre (Kansas City, MO), Theater Alliance (Washington, DC), and The VORTEX (Austin, TX)

CAST
Eleanor: Andreá Bellamore
Bartholomew: Solomon Langley
Lula: Alina Collins Maldonado
Fox: Madison Norwood
Tug: Eric Lane
Geraldina: Victoria Gómez
Sandstone: Sebastian Cummiskey and Chase Carolyn Williams

CREATIVE TEAM
Playwright: Mary Glen Fredrick
Director: Shanara Gabrielle
Scenic Designer: Gisela Estrada
Lighting Designer: Yannick Godts
Sound Designer: Matthew M. Nielson
Costume Designer: Danielle Preston
Props Designer: Luke Hartwood
Projections Designer: Jonathan Dahm Robertson
Ass. Lighting Designer: Trinity Joseph
Choreographer/Intimacy: Nikki Mirza

PRODUCTION TEAM
Stage Manager: Regina Vitale
Assistant Stage Manager: Isabella Tapia
Lighting Supervisor: Elijah Thomas
Asst. Lighting Supervisor: Trinity Joseph
Audio Supervisor: Allison Pearson
Wardrobe Supervisor: Reigen Coffee
Stage Manager Cover: Samba Pathak

SEE ALSO:
Theater Alliance announces 2025/26 season (news story, July 31, 2025)

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

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

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

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

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

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

Running Time: Approximately 45 minutes.

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

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

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

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For short plays, good scripts and well-managed execution are essential to ensure clarity as the pieces flow. Silver Spring Stage shows its mastery of telling short stories with energy and punch. The company’s 2025 One-Act Festival nails it.

James Bosley’s Chiquita! harkens back to earlier days of dial-up telephones, cigarettes, and cocktail lunches. Those of us of a certain age remember Steve McQueen, the television star of the 1970s, who knew how to work a room while being a bit full of himself. As McQueen, Ron Ward has just the right amount of swagger and makes it clear to a young colleague that his next movie should feature him driving fast race cars, his standard ticket to fame. Jim Morrison, played with beach boy charm by Thomas Friend, has other ideas. This tousled-haired pre–New Age wonder guy tries to lure McQueen out of his comfort zone by considering a whole new concept, a Latina speed racer inspired by the parking attendant who just parked his car! Diana Valle plays a skeptical Irene, with Saul Diaz Cruz as her hilarious brother, Tomas, in tow, as she bandies about the stereotypes of being considered “Chiquita.” Bill Hurlbut directs with zest, while attendant/bellhop costumes by Jennifer Morrissey add to the hilarity.

Even the organization of the plays reflects careful deliberation. After the funny in-your-face Chiquita!, The Waiting Room by Alli Hartley-Kong is a touching two-hander with Kat Binney’s Katherine sitting quietly in a fertility clinic office when Erica Smith’s Natalie blusters in, cracking jokes and pacing around the room. The era is post-pandemic, but just barely. Natalie’s rambunctious personality and physicality contrast with Katherine’s quiet demeanor. As they share their stories, part-time comedian Natalie settles down while Katherine opens up for a completely different supportive interaction by the end of the scene. Kudos to the lighting designer Jim Robertson for several breathtaking moments, especially the opening where Katherine is seated in a single spotlight in the darkness, reflecting the solitary solemnity of the situation, a longed-for pregnancy that just doesn’t happen.

After Charlottesville by Latisha Jones starts off with a breezy connection between two friends, beaus they might be seeing, missed phone messages, etc. As Marcy, Iyanu Bishop nearly bounces around their park bench trying to lure Amber, a pensive Caroline Adams, into the lightweight conversation. They laugh and reminisce to ease what’s coming, but the interchange shift is inevitable as Amber opens up about the protest and gruesome scenes of the violent aftermath. The friends share remorse for not being or doing enough, guilt for surviving. After Charlottesville is a touching reminder of the scars that remain and continue to impact people whose lives were upended by the unexpected violence in what was considered safe space, home.

The final play, A Very Different Kind of Truth by Erica Smith, deals with totally out-of-the-box issues of what is delusion versus what is real. And real to whom. Three top-notch actors — Matthew J. Murray, Frances Russell, and Evelyn Meek — portray characters caught up in trying to unravel the truth and reality … of possible alien abduction. Cass is dealing with the aftermath of a family member (perhaps the mom?) who mysteriously disappeared nine years ago. He’s convinced that she’ll return, and they wait, hoping and longingly, in sibling support. But when the sister goes missing and he’s targeted and blamed as a possible suspect, all hell breaks loose. Sayer is a potential love interest, but try as she might, she just doesn’t see the flashing lights in the sky that glow brighter and brighter in seeming approach that Cass and his sister saw before she disappeared. Lighting designer Robertson worked his magic again for this one in tandem with ominous sound design by Rich Frangiamore with hints of an otherworld experience.

Playing one more weekend, Silver Spring Stage’s 2025 One-Act Play Festival is a tried-and-true, funny, thought-provoking, and entertaining time at the theater.

Running Time: Two hours and 15 minutes.

The 2025 One-Act Play Festival plays through August 17, 2025 (Friday and Saturday at 8:00 PM; Sunday at 2 PM), at Silver Spring Stage, 10145 Colesville Road, Silver Spring, MD. Tickets ($25–$28) may be purchased 2025 One-Act Play Festival in person, or by contacting the Box Office at boxoffice@ssstage.org or 301-593-6036.

Contains mature language and themes.

COVID Safety: Masks Optional.

The Silver Spring Stage 2025 One-Act Play Festival

Chiquita!
By James Bosley
Directed by Bill Hurlbut
Cast: Ron Ward, Thomas Friend, Diane Valle, Saul Díaz Crúz
Costume Designer: Jennifer Morrissey

The Waiting Room
By Alli Hartley-Kong
Directed by Robin Berl
Cast: Kat Binney, Erica Smith

After Charlottesville
By Latisha Jones
Directed by Kristen Davis
Cast: Iyanu Bishop, Caroline Adams

A Very Different Kind of Truth
By Erica Smith
Directed by David Dieudonne
Cast: Matthew J. Murray, Frances Russell, Evelyn Meek

PRODUCTION STAFF
Producer: Seth Ghitelman
Stage Manager: Mary Ghitelman
Assistant Stage Manager: Summer Skerritt & Skye Skolnik
Lighting Design: Jim Robertson
Sound Engineer: Rich Frangiamore

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

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

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

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

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

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

Running Time: Approximately 45 minutes.

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

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

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

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I must admit I have never seen anything like Happy Fall: A Queer Stunt Spectacular. Leave it to the Contemporary American Theater Festival to push the envelope into all kinds of theatrical configurations and domains. The descriptions don’t do justice to the fresh new realm of theater expression that writer Lisa Sanaye Dring, in collaboration with the Rogue Artists Ensemble, pulls together. (Rogue Artists Ensemble is “a collective of multi-disciplinary artists who create Hyper-theater, an innovative hybrid of theater traditions, puppetry, mask work, dance, music, and modern technology.”)

Aubrey Deeker plays Clay as the Narrator, Master of Ceremonies, a wiry, seasoned stuntman force of nature who must be seen to be believed. Clay commandeers the set when showcasing historical snippets of stunts — fascinating — as well as describing live-action events on the set and video. Clay sometimes functions through his alternate self, a life-size, beautifully jointed mannequin that communicates through a powerful voice box, Vadar-sounding echo chamber.

Glenn Morizio’s Felix is a fresh newcomer to the stunt scene, never having set foot on a set, but with excellent skills he’s been perfecting on his own. The two are a master class demonstrating impeccable precision, especially when engaged with sharp, unforgiving knives, daggers, and all kinds of sword weaponry. Felix is graceful with strong martial arts skills. Both performers are well supported by the Ensemble (Kelly Autry, Ambria Campbell, Joanna Carpenter, Nic Coccaro, Triever Sherwood, and Maggie Wratchford). They are a thrill to watch.

The creators dig deep to show the characters’ will and psyche as they function in this thrill-seeking work. Even more than an adrenaline rush, the characters are compelled to push to the max and beyond to fulfill their sense of self. Getting the stunt just right becomes the ultimate concern while safety coordinators rush around desperately trying to keep everyone unharmed, no small feat. Felix is determined to perform the legendary highest fall no matter how many times he’s been warned that the death-defying feat is usually not a “happy fall,” one that a performer walks away from. It’s like his life depends on attempting it, no matter what.

The Ensemble demonstrates the art of falling, not just a pratfall on the floor, but actual tumbles down a flight of stairs. How they perform these real-life head-over-heels rolls down steps show after show is beyond me. There’s no sleight of hand, just real tumbles down an angled staircase. It was remarkable and surely didn’t inspire anyone to try it at home.

Sound designers slam you back to the 1980s with a soundtrack filled with Boy George, Funkadelics, and the ’80s anthem Madonna’s “Vogue,” which starts and closes the show. Projections and audiovisuals are off the charts. Fabulous scenic design by Se Hyun Oh embeds an entire dressing room into the middle portion of the set, while costumes by Andrew Jordan go from spaghetti westerns to ninjas to the ultimate ’80s party strut complete with colorful sparkles and an array of disco glitter balls that fall from the ceiling on cue.

Director Ralph B. Peña keeps up a fun, circus-like pace, especially during the historical passages where video, narration, and acrobatics blend seamlessly. As Clay and Felix find their way to each other, the lights dim, and the sound settles for the haltingly tender moments. Their moves are carefully choreographed, but in an unscripted moment, when they accidentally touch, you could almost feel the current that jolted them both in surprise. The love story is threatened by Clay’s self-protective tendency to disassociate from his feelings as rendered by his alter-ego mannequin. Just as he denies feeling physical pain, his wooden self shields his emotional vulnerability.

While Felix is younger and much less inhibited, he’s also physically and emotionally wounded but refuses to succumb to the prevalent social stigma of the time. At one point, he reveals that we are all broken, a sentiment that can easily apply to all. For the characters to get past their own psychological barriers and share their affection and love is as much a feat as their stunt accomplishments.

The program description says it all:

Based on true life events and told through live stunts, video, puppetry, and cinematic illusions, this story is a fun, raucous tribute to the resiliency of the LGBTQIA+ community. Illuminating issues of identity in the film industry, this play highlights the importance — and danger — of being true to one’s self.

And, I would add, you‘ll have a good voguing time along the way.

Running Time: One hour and 40 minutes with no intermission.

Happy Fall: A Queer Stunt Spectacular plays through August 3, 2025, presented by the Contemporary American Theater Festival performing at the Frank Center Theater, 260 University Drive on the campus of Shepherd University, Shepherdstown WV, in repertory with four other CATF plays. Times, dates, and ticketing information may be found on the CATF website or by calling the CATF box office at 681-240-2283.

Happy Fall: A Queer Stunt Spectacular
By Lisa Sanaye Dring with Rogue Artists Ensemble
Directed by Ralph B. Peña

CAST
Glenn Morizio* as Felix
Aubrey Deeker* as Clay/Clay Puppet/Host

Ensemble:
Kelly Autry*
Ambria Campbell
Joanna Carpenter*
Nic Coccaro
Triever Sherwood
Maggie Wratchford

PRODUCTION TEAM
Scenic Design: Se Hyun Oh**
Costume Design: Andrew Jordan
Lighting Design: Jiyoun Chang**
Sound Design: Fabian Obispo**
Projection Design: Stefania Bulbarella**
Associate Projections Design: Eli Garmon
Stage Manager: Taeuk Kang*
Assistant Stage Manager: Esther Chilson
Casting: Pat McCorkle LTD.
Fight Director: Aaron D. Anderson***
Associate Fight Director: Cara Rawlings
Stunt Specialist: Frank Alfano
Intimacy Director: David Anzuelo***
Dramaturgs: Harris Kiernan, Amrita Ramanan

*Actors’ Equity Association
**United Scenic Artists
***Stage Directors and Choreographers Society

SEE ALSO:
Contemporary American Theater Festival announces full 2025 lineup (news story, March 31, 2025)

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It doesn’t take much to be intrigued by the works of Mark St. Germain. His Becoming Dr. Ruth was acclaimed at Theater J several years ago, while The Happiest Man on Earth and Scott and Hem in the Garden of Allah both hit their strides at previous Contemporary American Theater Festivals. His Magdalene tackles history as remembered, perceived, and experienced by two biblical figures, Apostle Peter and Mary Magdalene. Germain provides backstory, reflection, and possible intention to these iconic figures as they explore and evolve to become totally different characters from who we expect them to be.

Peter’s entrance to Mary’s humble dwelling is loud with incessant knocking then pounding on her door. She finally lets him enter to stop the ruckus with an if-looks-could-kill “how dare you” demeanor. She had been summarily dismissed from the cadre of Jesus’ followers, and now Peter has the audacity to approach her for resolution and solace of some kind? Mary isn’t having it, and the two of them are off to the races recalling their encounters with Jesus and what the interactions meant along the way.

First of all, Mary (finally) has a voice, and she vehemently dispels the whole prostitute thing. From her description, one can see how convenient it could be to slap a label on someone when it could possibly even have been a different person or a conflation of other “Marys” that stuck with and defined her over time. The two recount miracle after miracle, describing what happened, but from their separate points of view. The versions sound totally different when they’re filled in with the backstory of who said and saw what, as they consider fascinating aspects of religion versus faith.

Peter retorts that he is the ultimate right-hand man with Jesus, who specifically proclaimed him as the “Rock” on which Christ will build his church, the Christian Kingdom. Mary punctures Peter’s inflated sense of himself, reminding him of his lethargy in the Garden of Gethsemane and Peter’s own persistent denial of Christ when needed most. “Rock” nothing, maybe more like blockhead, she implies. Oh yes, it is on, baby.

The bantering comes to a head when Peter reveals his urgency to see her. He’s seeking her alliance in dealing with Paul (previously known as Saul), who has proclaimed himself an apostle and is preaching the gospel to mega-numbers of followers for Christ. Mary again has the upper hand in noting that Paul’s more inclusive ministry includes women. She also reinforces the special closeness she had with Jesus along the journey and recounts her stance directly beneath the cross looking up at the horror of the crucifixion.

The casting works beautifully with Julian Elijah Martinez’s solid rendition of Peter, worn from the struggles of staying alive while adjusting to an evolving take on the Gospel that underpins his life. Sam Morales’ Mary is valiant in finally having her say in a culture that denies and shuns her humanity. Director Elena Araoz keeps the text flowing with dramatic appeal and wonderment of “What if…?” Germain’s closing moments imbue Mary with mystical powers that imply her own miraculous connections to an energy source. Enhanced by Nathan Leigh’s sound and Harold F. Burgess II’s lighting, the scene indicates that despite being unseen and unheard, she and women across the world through millennia of ancient and modern times have and will always be a force to be reckoned with.

Running Time: 90 minutes with no intermission.

Magdalene plays through August 3, 2025, presented by the Contemporary American Theater Festival performing at the Marinoff Theater, 62 West Campus Drive, on the campus of Shepherd University, Shepherdstown WV, in repertory with four other CATF plays. Times, dates, and ticketing information may be found on the CATF website or by calling the CATF box office at 681-240-2283.

Magdalene
Written by Mark St. Germain
Directed by Elena Araoz

CAST
Sam Morales* as Mary
Julian Elijah Martinez* as Peter

PRODUCTION TEAM
Scenic Design: David M. Barber**
Costume Design: Christopher Vergara**
Lighting Design: Harold F. Burgess II**
Sound Design: Nathan Leigh**
Stage Manager: Lori M. Doyle*
Casting: Pat McCorkle LTD.
Fight Director: Cara Rawlings

*Actors’ Equity Association
**United Scenic Artists

SEE ALSO:
Contemporary American Theater Festival announces full 2025 lineup (news story, March 31, 2025)

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