Delivering a message of joy, perseverance, and hope, Prince William Little Theatre closed its production of Hairspray on July 20 to a completely sold-out house. It is never too late to applaud a job well done or sing the praises of an inspiring piece of theater, crafted with great care, love, and tremendous talent. So here I go.

Hairspray is an American musical based on a 1988 movie of the same name by John Waters, with music by Marc Shaiman, lyrics by Marc Shaiman and Scott Wittman, and a book by Mark O’Donnell and Thomas Meehan. The work is well-known for taking bigotry and the entitlement of corporate America to task by blasting the hypocrisy, insincerity, and flat-out nonsensical bullshit logic that feeds into the narrative. However, it presents the message in a palatable package of comedic and relatable characters, who mock the establishment and demonstrate justice and human decency through hilarious scenarios and a rocking score.

Through the guidance of Musical Director Nancy Huddleston and the accompaniment of a kick-ass live orchestra, conducted by Matthew Scarborough, the songs drive the fast pace of the show, making the entire experience an exciting, high-energy ride, accentuated with a wide array of dance styles from the era, like the mainstream Madison and the Twist, to rhythm and blues, Motown, and even tap, all choreographed by Philip Smith-Cobbs and executed by a robust ensemble.

Lovely set design by Peter Marsh and James Maxted utilized large multi-sided set pieces that rotate to represent the interior of the Turnblads’ home, Mr. Pinky’s dress shop, Corny Collins’ studio, and the record shop. Add the brightly colored set decoration by Mel McCleerey and Becky Gould-Levine, plus period costume design by Riley Leonhardt, and the result was a vibrant ’60s style and vibe.

The story takes place in Baltimore in the 1960s and follows plus-sized, dance-crazed high schooler Tracy Turnblad, played with pure innocence and contagious positivity by Lindsay Nicole Steinberg. Steinberg kicks off the show with the effervescent “Good Morning Baltimore,” celebrating the beauty Tracy sees in her city.

One of my favorite numbers and a stellar tone-setter for the premise, “Good Morning Baltimore” highlights Tracy’s self-confidence and remarkable ability to embrace her own unique perspective and find the courage to pursue her dreams, even in the face of opposition and downright nastiness.

The embodiment of ugliness is displayed by Velma Von Tussle (Katie Weigl), the racist and body-shaming producer of the televised, teen dance sensation, The Corny Collins Show, and she shows her shallowness immediately when singing of her own former greatness in  “(The Legend of) Miss Baltimore Crabs.” Von Tussle is what happens when a Karen has a position of power and has bought into her own false delusion that the corporation she works for sees any value in her beyond their bottom line.

And demonstrating that hate is learned is Velma’s spoiled, blonde daughter, Amber Von Tussle, played convincingly by Chelsea Williamson, with an obliviousness and privilege that makes her a villain who is a guilty pleasure to hate.

Williamson’s Amber is one of the Council Members on the Corny Collins Show, along with heartthrob Link Larkin (JJ Calavas), Brad (Mauro Manganello), Tammy (Morgan Taylor), Fender (Zach Burgess), Brenda (Syd Austin), Sketch (Luke Dollery), Shelley (Jessi Shull), IQ (Wyatt Underwood), and Lou Ann (Megan Berk).  The group sings the ironic “The Nicest Kids In Town” as an intro to the false “purity” of the show’s council.

Justin Harmon is slick and incredibly charming as the smooth-moving Seaweed, who is the catalyst for Tracy earning a position as the new face on the Corny Collins Show, hosted by the engaging Corny Collins himself (Jim Bowen-Collinson). Seaweed also introduces Tracy to his mother and hostess of monthly “Negro Day” on the same network, Motormouth Maybelle (Lauren Baker).

Baker is outstanding in the role of Motormouth, and her first featured song, “Big Blond and Beautiful,” closes out Act One with powerhouse singing and dancing by the cast, spotlighting the fabulous rhythm of Adrianna Weir’s Li’l lnez. It sends the audience into intermission with a burst of empowerment and pride.

But it is in the poignant and soul-stirring “I Know Where I’ve Been” in Act Two that Baker’s Motormouth truly shines. The lyrics tell the story, but Baker brings raw emotion that moved me to tears when she sings the painfully relevant lines

There’s a road we must travel
There’s a promise we must make
There’s a dream with the future
There’s a struggle that we have yet to win
Use that pride in our hearts
To lift us up to tomorrow
Cause just to sit still would be a sin
I know where I’m going
Lord knows,
I know where I’ve been

And it is this shameful, persisting relevance of the material that fuels the passion and eager reception of a nearly 40-year-old musical. Director Melanie McCleerey says as much in her program notes, stating:

Unfortunately, as a nation, we continue to grapple with racism, body shaming, and exclusion. While progress has been made, the fight persists. As a white director of Hairspray!, I aimed to give the story full exploration and justice. This included facilitating discussions among the cast, organizing a field trip to the Smithsonian’s National Museum of African American History and Culture, and exploring the Baltimore African American Museum and John Waters’ childhood neighborhood. We’ve had incredible discussions about systemic racism and heard personal stories of daily injustices related to each theme in the show.

The entire cast of the PWLT’s Hairspray did an outstanding job delivering the heart-warming, feel-good story that prevails in spite of powerful elites, the sway of money over morals, and the historic whitewashing of our country.

Jessica Mabry is delightful as Penny Pingleton, the spunky best friend and biggest fan of Tracy. Penny displays the unconditional love and support of a true friend while dealing with her own demons in the form of her stick-in-the-mud, racist mother, Prudy (Jill Figueiras).

Michael Barret Jones plays Tracy’s protective but well-meaning mother, Edna Turnblad. Jones’ Edna is a crowd favorite from the start, thanks to her tell-it-like-it-is demeanor and incredibly kind heart. The song “Welcome to the ’60s” showcases Edna’s insecurities as Tracy helps her out of her shell and shows her mom, leading by example, that she can live boldly in her own skin and raise her head with pride. Shout-out also to the gorgeous backup vocals of the Dynamites in “Welcome to the ’60s”, portrayed by Aliya Gardner, Taylor Body, and Keyera Whiting.

The sweet “(You’re) Timeless to Me” sung by Edna and Wilbur (Philip Krzywicki) Turnblad is also a standout number. While it’s a bit of a fluff song in a show piled with biting social commentary and dynamic dance moves, Krzywicki and Jones deliver a touching and sweet duet that reminds the audience of the importance of valuing the people around you and never taking for granted the relationships that we always expect to be there. Even the most solid of connections require attention and care and can serve as a soft place to land and a good source of comfort in an otherwise unpredictable and unkind world.

And not to be matched is the energetic and joyous show-closing song, “You Can’t Stop the Beat,” featuring the entire company.  Steinberg’s effervescent Tracy has won the day with her spunk, dedication to social justice, and overwhelming and contagious desire to do what is right.

I’ll close out using Director McCleerey’s well-stated hope for the future:

Let’s all emulate Tracy Turnblad, using our voices to fight for what is right. Let’s embrace love, offer help, and extend kindness to one another. When we unite to inspire change, as the song says, “you can’t stop the beat!”

Running Time: Approximately two hours and 45 minutes, with one 15-minute intermission.

Hairspray, the Broadway Musical played from July 11 to 20, 2025, presented by Prince William Little Theatre, performing at the Gregory Family Theater at the Hylton Performing Arts Center located at 10960 George Mason Cir, Manassas, VA. Further details on upcoming PWLT productions can be found online.

See the program here.

Hairspray, the Broadway Musical

CAST
Tracy Turnblad – Lindsay Nicole Steinberg; Corny Collins – Jim Bowen-Collinson; Amber Von Tussle – Chelsea Williamson; Brad – Mauro Manganello*; Tammy- Morgan Taylor*; Fender – Zach Burgess; Brenda – Syd Austin; Sketch – Luke Dollery; Shelley – Jessi Shull; IQ – Wyatt Underwood; Lou Ann – Megan Berk; Link Larkin – JJ Calavas; Prudy Pingleton/Gym Teacher/Matron – Jill Figueiras; Edna Turnblad – Michael Barret Jones; Penny Pingleton – Jessica Mabry; Velma Von Tussle – Katie Weigl; Harriman F. Spritzer/Mr. Pinky/Principal – Chris Anderson; Wilbur Turnblad – Philip Krzywicki; Seaweed J. Stubbs – Justin Harmon; Duane – Rasheed Williams; Gilbert -Tyrus Sanders*; Stooie – Tristan Stokes; Thad – Darien Weems; Kamilah (Dynamite)/Lorraine – Aliya Gardner; Shayna (Dynamite)/Monique – Taylor Body*; Judine (Dynamite)/Cindy Watkins – Keyera Whiting; Li’l lnez – Adrianna Weir; Motormouth Maybelle – Lauren Baker; Li’I Inez Understudy/Ensemble – Harmony Jackson; Ensemble – Heather Taylor; Ensemble/Guard – Amelia Marsh; Ensemble – Erin Miller
*Dance Captain

PRODUCTION TEAM
Director – Mel McCleerey; Producer/Social Media – Becky Gould-Levine; Co-Producer/Marketing/Graphic Design/Set Graphics – Bob Thompson; Stage Manager – Darcy Heisey; Musical Director – Nancy Huddleston; Conductor – Matt Scarborough; Choreographer – Philip Smith-Cobbs; Intimacy Coordinator – Kim Leone; Costume Design – Riley Leonhardt; Lighting Design – Ken and Patti Crowley; Hair and Makeup Design – Kyle Chua; Sound Design – Tim McCleerey and Wil Taft; Sound Assistant – Samantha Wong; Set Design and Build – Peter Marsh and James Maxted; Set Painting – Mel McCleerey and Becky Gould-Levine; Set Decoration – Mel McCleerey and Becky Gould-Levine; Properties – Mel McCleerey; Assistant Director – Nick MacFarlane; Assistant Costume Design – Ann Martin, Linda Sloan; Costume Assistant – Elizabeth Reyes; Assistant Properties Design – Ann Martin and Kristin MacFarlane; Program Design/Layout – Elena Thompson; Photography – Heather Regan Photography; Student Director/Extern – Brianna Dunnigan; Extern – Aleah Long; Paint and Build Assistants – Amelia Marsh, Cruz Swede, Jill Figuerias, Tom Manganello, Bob Thompson, Elena Thompson, Katie Weigl, Zach Burgess, Syd Austin, Jessie Shull, Rasheed Williams, Keyera Whiting, Mauro Manganello, Mary Gaskins, Aenea Gaskins, Adrianna Weir, Harmony Jackson, Chris Anderson, Cathy Gould, Philip Krzywicki, Ann Martin, JJ Calavas, Lindsay Nicole Steinberg, Kristin MacFarlane, Michael Barret Jones, Ryan Levine, Brad Miller, and Erin Miller.

ORCHESTRA
Justin Baughman – Reeds; Teresa Harris – Reeds; Jeff Menzin – Trumpet; Ben Greniven – Trombone; Serena Sela – Violin; Rebekah Greniven – Violin*; Pam Clem – Cello; Randy Dahlberg – Bass; James Madar – Guitar; Robert LaRose – Guitar; Chris Calavas – Drums; Carlos Figueiras – Percussion; Nancy Huddleston – Keyboard; Matthew Scarborough – Keyboard/Conductor
*at certain performances

Prince William Little Theatre’s next production is The Woman in Black, opening October 10, 2025, and running through October 19. The show will be directed by Cameron McBride, and the site states this synopsis:

Arthur Kipps, a lawyer obsessed with a curse that he believes has been cast over him and his family by the specter of a Woman in Black, engages a skeptical young actor (and his stagehands) to help him tell his terrifying story and exorcise the fear that grips his soul. It all begins innocently enough, but then, as they reach further into his darkest memories, they find themselves caught up in a world of eerie marshes and moaning winds.​

The post In ‘Hairspray’ at Prince William Little Theatre, a tuneful fight for what’s right appeared first on DC Theater Arts.

To say that I love Jesus Christ Superstar would be a gross understatement. So naturally I jumped at the chance to see the Workhouse Art Center’s production of Tim Rice and Andrew Lloyd Webber’s rock opera, despite having seen the show twice in the previous month. The Workhouse did not disappoint, delivering a sensational classic rock score, kick-ass guitar riffs, and harmonies that built into a layered, pulsating chant with exceptional talent and palpable energy to a sold-out crowd.

Jesus Christ Superstar pulls together several stories from the Gospel, including Jesus’ healing of the leper, his clearing of the merchants from the temple, and Peter’s denial of knowing Jesus, just to name a few. But the musical offers a more nuanced perspective and brings a real and relatably human messiness to the events that occurred, from Jesus’ growing adoration among the common folk, ultimately to his crucifixion.

Liz Colandene directed the musical, focusing on the volatile nature of adoration and the emotional consequences of each flawed character’s actions. Instead of replicating common motifs, detailed attention was given to the small interactions between individuals, making each seem more real rather than like caricatures from another time.

The black box stage was awash with warm colors and flowing fabrics, reflecting a relaxed, carefree, hippie vibe. And lighting design by Christina Giles accentuated the tie-dyed shades of Audrey Miller’s costume design for followers of Jesus, adding to the ambiance.

Shakil Azizi is fantastic as the troubled Judas, kicking off the first act with an intensely powerful “Heaven on Their Minds.” Azizi exudes the passion and frustration of a conflicted man; Witnessing him navigate Judas’s journey as he struggles to do what he thinks is right, only to fail and drown in grief and guilt, is magnetic and pulls at the heart.

Jesus was played by Adian Chapman (in for Garrett Walsh), with a gentle but anguished aura. Chapman presents a strong but measured Jesus, which contrasts with Azizi’s severity in Judas and the growing fanaticism of the Apostles and the crowd. This dynamic is played out in the jiving “What’s the Buzz?” as the people itch with curiosity about what the plan of action is, while Jesus and Judas spar with words over wasted resources and Judas’ inability to focus on the here and now.

Mary Magdalene, who sings the well-known “I Don’t Know How to Love Him,” was performed by Erin Lee Shields with a lovely voice and kind demeanor. Shields presents Mary with the physicality of a caregiver and a gentle soul, constantly comforting Jesus and reaching out to others with open arms. The dynamic between Shields’ Mary and Chapman’s Jesus is touching and genuine, reminding the audience that Jesus was not simply a martyr or just a movement; he was a man with as much need for the compassion he freely shared with those around him.

Enter Caiaphas (Chris Anderson), Annas (Ethan Keller), and the Priests, dressed in their appropriately black garments. They fear the growing crowds and potential threat to their rule, and quickly switch up the mood with the dark “Jesus Must Die.” Anderson and Keller crush all of their vocals, with Anderson’s ground-rumbling bass and Keller’s dominant tone, casting a convincing image of the inevitability of their actions for the “greater good.”

Another great contrast to the upbeat, often near manic jubilation from the crowd is Pontius Pilate’s song, “Pilate’s Dream”. Played by John Elmendorf, he beautifully sings the softer and melodic piece with wonder and trepidation, casting Pilate as a sympathetic character haunted by the dream of a strange man’s suffering brought on by the fickleness of humanity and the fragile egos of those currently in control.

The rock opera contains no dialogue, and the pacing of the numbers fluctuates with the scenes’ mood. There is frantic urgency in “Simon Zealotes” as Simon (Alicia Zheng) raves about Jesus’ fame and sway over the masses. Zheng and the ensemble take us to church on this number with their passionate, exalted voices and electrifying choreography by Jackie Madejski.

However, the chorus of “Everything’s Alright” has a more calm and flowing cadence, repeating like a meditation mantra to settle the nerves. Many of the songs flow smoothly into the next, but some transitions are deliberately disjointed and harsh to reflect the clashing and increasing conflict between the Roman priests and Jesus’ seeming threat to their authority.

And then you have the more humorous and playful “King Herod’s Song,” which is the most show-tune-y of all the songs. Sentell Harper is flawless as the flashy and somewhat sadistic King Herod, who taunts and teases Jesus about his supposed influence and abilities.

Meanwhile, managing all of this controlled chaos of tempo and timing is Music Director Merissa Ann Driscoll, who has done an impeccable job weaving the many threads of variable sound into one fluid and harmonious piece of art. Driscoll also leads the live band on stage on the keys, along with Nick Graziano on bass, Jim Hofmann on drums, and Robbie Taylor on guitar. Each musician gives high-octane, stadium-concert-level execution that electrifies the audience throughout the entire show.

The Workhouse Arts Center’s Jesus Christ Superstar is a fantastic experience and a true testament to creativity, talent, and professionalism, culminating in an energetic and cohesive production. The entire cast is a pleasure to watch, and the creative team has put together an impressive spectacle. I appreciated Director Colandene’s tendency to lean into the drunkenness, mania, and volatility of fandom, highlighting how the powers that be can manipulate that popularity. Congratulations to the Workhouse for bringing this show to life and displaying the work’s relevance as both a reminder and a warning still needed today.

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

Jesus Christ Superstar plays through June 15, 2025, presented by Workhouse Arts Center performing at the W-3 Theater located at 9518 Workhouse Way, Lorton, VA.  Purchase tickets ($40 for general admission, $35 for military, $30 for students) at the box office, online, or by calling 703-584-2900.

COVID Safety: Masks are optional at Workhouse Arts Center for visitors and staff. If you prefer to wear a mask, you are welcome to do so.

CAST: Garrett Walsh: Jesus; Shakil Azizi: Judas; Erin Lee Shields: Mary Magdalene; Chris Anderson: Caiaphas; Ethan Keller: Annas; John Elmendorf: Pontius Pilate; Alicia Zheng: Simon Zealotes (U/S Mary); Kevin Donlan: Peter; Sentell Harper: King Herod; Lila Cooper: Featured Dancer; Lydia Gifford-Featured Dancer; Julianna Cooper: Ensemble (U/S Annas, Peter); Tayandra Allen: Ensemble; Meredith Kilmartin: Ensemble (U/S Simon Zealotes); Evan Zimmerman: Ensemble (U/S King Herod); Sean Pflueger: Ensemble (U/S Caiaphas, Pilate); Cassie Cope: Swing/Dance Captain; Adian Chapman: Swing (U/S Jesus, Judas);Lottye Lockhart: Swing

CREATIVE TEAM: Liz Colandene: Director; Merissa Anne Driscoll: Music Director; Jackie Madejski: Choreographer; Samba Pathak: Stage Manager; Joseph Wallen: Producer; Emily “EJ” Jonas: Intimacy/Fight Director; Christina Giles: Lighting Design; Audrey Miller: Costume Design; Cheryl Neway: Associate Costume Design; Andie Matten: Sound Design; Priscilla Stapula: Props Design; Natalie Turkevich: Hair/Make-Up Design; Brian Bachrach: Head Electrician; Clare Pfeifer: Sound Board Operator; Abigail Horton: Art Consultant; Nancy Hessler-Spruill: Videographer; Alyssa Mutterperl: Photographer; Kayla Garcia: Photographer

THE BAND: Nick Graziano: Bass; Jim Hofmann: Drums; Merissa Ann Driscoll: Music Director/Keys; Robbie Taylor: Guitar

The post Exceptional talent blesses ‘Jesus Christ Superstar’ at Workhouse Art Center appeared first on DC Theater Arts.

Legally Blonde was a surprise hit in the summer of 2001 and has amassed quite the cult following over the years. No one would have guessed that a movie about a stereotypical, blonde bombshell, chasing after her ex-boyfriend, who dumped her to pursue a more serious life at Harvard, would become a source of inspiration and a symbol of female empowerment. Yet, here we are in 2025 and Legally Blonde the Musical is entertaining audiences with this story of a beauty with a brain and a heart of gold, along with an incredible score and rousing dance numbers.

The Arlington Players are entering the final week of their run of Legally Blonde and, if you are looking for a little hope, positivity, and pure joy to escape from the crashing economy, crumbling democracy, and fascism banging at your door, I highly suggest witnessing this production.

The set design by Kim Leone is massive and incredibly well done, with multiple flats that can be arranged to show the exterior of the sorority house, then open up to the interior with lovely twin stairs. Flats with faux brick backing are used to represent various parts of Harvard, and while some of the scene changes were a little lengthy, it was interesting to watch the choreography of the many moving parts, not to mention impressive.

Music Director and Conductor Blakeman Brophy, does a lovely job working with the live orchestra in the pit and blending the music with the cast’s strong voices. There were a couple moments when the vocals did not sync up exactly, which can happen if the actors are struggling to hear the music, but it was short lived, barely noticeable, and hey! That’s live theater for you!

Lindsey Anstead plays the captivating Elle Woods, giving her the genuine kindness, empathy, and drive that makes her character so lovable. And right from Anstead’s first solo in “Omigod You Guys,” she conveys the love, appreciation, and good heartedness that make Elle someone you would battle dragons for.

And then there’s Warner Huntington Ill (Andrew Edwards). What a putz. Edwards is great at being truly awful and milks the tragic humor in his song “Serious,” as Warner drags out dumping Elle in the most thoughtless, confusing way possible. We hate him so much. Well done, Edwards.

Luckily for Elle, she has the support of her sorority sisters (played by Maia Potok-Holmes, Gabriella Derke, Gabrielle Priest, and Shannon Hardy), who stick by her side as she works through her rollercoaster of emotions. Especially Elle’s core trio of friends Pilar (Shiloh Manns), Serena (Chelsea Williamson), and Margot (Taylor Litofsky). I am of the firm belief that all women need ladies like these in their lives. Devoted, supportive, ready to rip a girl’s eyes out if it comes to that… A little extreme but that is the energy you need from your friends to bolster you when you are down. And Litofsky, Manns, and Willamson crushed it. Each character had their own distinct personality and created many comedic moments, not to mention their killer vocals in “Positive” and “Bend and Snap.”

Preston Grover played the seemingly soft-spoken but incredibly driven Emmett Forrest. Emmett is an all-around good guy who sees what Elle is capable of and gives her the tools to succeed. Grover plays the measured and charming Emmett with seeming ease, and the evolution of his character from tutor to love interest through the sequences of “Chip On Your Shoulder” is beautiful and incredibly natural.

Professor Callahan (Ryan Brown) is skeezy, slimy, and all things we hate about lawyers and toxic men. The only redeeming quality of Callahan is that he sees Warner for the worthless sycophant that he is and treats him thusly.

Claire Jeffrey plays Brooke Wyndham, who is wrongfully accused of murdering her husband. The audience doesn’t get a lot of time to know her character, but she opens the second act with the stellar number “Whipped Into Shape” where she simultaneously jumps rope and sings her face off. So, yeah. She’s hot and awesome.

Another notable character is Vivienne Kensington, played by Marissa Michaels. She comes off as nasty and mean but once she realizes how real Elle is, and how disgusting the men are, she has Elle’s back to the end. Plus her solos in “Legally Blonde Remix” are fantastic.

There are too many hilarious moments to mention: like Enid Hoopes (Arianna Parenti) jumping to the defense of Gloria Steinem. The epic entrance of Kyle (UPS Guy) by Brady Misustin. Paulette Bonafonte, played by Anna Marquardt, fantasizing about Ireland.

The entire cast in The Arlington Players Legally Blonde the Musical do great work, with gorgeous vocals, and fun choreography by Victoria Jungck.

Legally Blonde is a musical comedy. But it is more than that. The show is about female empowerment, lifting each other up, and holding people accountable when they fail.

Legally Blonde the Musical is one of those food-for-the-soul, feel-good shows, and showcases a level of confidence and fortitude that young girls can aspire to. Congrats to the creative team, cast, and crew on a job well done.

Running Time: Approximately two hours and 20 minutes, with one 15-minute intermission.

Legally Blonde the Musical plays through April 27, 2025, presented by The Arlington Players performing at the Thomas Jefferson Community Theatre, 125 South Old Glebe Road, Arlington, VA. Tickets ($30 for adults, $25 for seniors and military, and $20 for students and children) can be purchased online, at the door, by contacting the Box Office at 703-549-1063, or via email (TAP@thearlingtonplayers.org).

The performance on Saturday, April 26, at 7:30PM will have Sign Language Interpretation.

Legally Blonde the Musical
Music and Lyrics by Book by Laurence O’Keefe and Nell Benjamin Heather Hach
Based on the novel by Amanda Brown and the Metro-Goldwyn-Mayer motion picture
Directed by Sabrina McAllister
Music Directed by Blake Brophy
Choreographed by Victoria Jungck
Produced by Jasmine Jones

CAST
Elle Woods: Lindsey Anstead; Emmett Forrest: Preston Grover; Paulette Bonafonte: Anna Marquardt; Pilar: Shiloh Manns; Serena: Chelsea Williamson; Margot: Taylor Litofsky; Warner Huntington Ill: Andrew Edwards; Vivienne Kensington: Marissa Michaels; Brooke Wyndham: Claire Jeffrey; Enid Hoopes: Arianna Parenti; Professor Callahan: Ryan Brown; Greek Chorus /Ensemble: Maia Potok-Holmes, Gabriella Derke, Gabrielle Priest, and Shannon Hardy; Carlos /Ensemble: Clayton Alex James; Nikos /Ensemble: Hector Matias; Kyle (UPS Guy) /Ensemble: Brady Misustin; Aaron Schultz /Ensemble: Ethan Kahwaty, Grand Master Chad /Ensemble: Elijah Nygaard; Elle’s Mom /Ensemble: Loren Blinde; Elle’s Dad /Ensemble: George Willis; Chutney Wyndham /Ensemble: Yael Rennert; Judge /Ensemble: Mariam Mesfin; Leilani /Ensemble: Jemies Blank; Whitney /Ensemble: Gina Strohbach; Ensemble: Sam Caplan, Patrick Cochran, Grey Moszkowski

ORCHESTRA
Conductor: Blakeman Brophy; Bass: Matt Majors; Drums: Kevin Uleck; Guitar: Chris Sisson and Rick Peralta; Keyboard: Blakeman Brophy; Keyboard 2: Steve McBride and Aimee Faulkner; Keyboard 3: Scott Richards; Percussion: Scott Luxenberg; Reed 1: Gwyn Jones and Mary Whitmore; Reed 2: Julie Pangelinan and Howard Mccullers; Trombone: KC Collins; Trumpet 1: Paul Weiss; Trumpet 2: Brian Morton; Violin: Tasha Pulvermacher

PRODUCTION TEAM
Producer: Jasmine Jones; Assistant Producer: Brandon Schenk; Director: Sabrina McAllister; Assistant Director: Sydne Lyons; Music Director: Blakeman Brophy; Choreographer: Victoria Jungck; Irish Step Choreographer: Christine Connor; Co-Stage Managers: Nick Friedlander, Dawn Morrow, and Lauren Markovich; Assistant Stage Managers: Maureen Dawson and Katie Lewis; Set Design : Kim Leone; Co-Master Carpenters: Tony Muller and Shah Choudhury; Assistant Carpenters: Kiersten Mitzel and Chris Kohlbeck; Set/Scenic Painter: Kim Leone; Set & Scenic Assistants: Jillian Rubino and Alix Neenan; Co-Props Design: Kim Leone and Nikki Rizzo; Set Dressing: Kim Leone; Lighting Design: Scott Graham; Sound Design: Adam Parker; Sound Assistants: Jerri Ford, Colette Yeager, and Adam Johnson; Sound Mixer: Adam Parker; Co-Costume Design: Joan Lawrence and Lydia Matson; Costume Assistants: Lucie Alden, Jordan Coley, Elaina Reck, Elspeth Grindstaff, and Erin Deutschman; Makeup & Hair Design: Robin Maline and Lanae Sterrett; Hair & Makeup Crew: Karen Maline, Katie Clement, and Maureen Roult; Fight Choreographer: Emily “EJ” Jonas; Intimacy Choreographer: Emily “EJ” Jonas; ASL Interpreters: Mary Beth Morgan and Bryan Davis; Bruiser Monitors: K Scarry and Jake Killian; Promo & Production Photos: Heather Regan; Videography: Claire Jeffrey; Show Graphics/Marketing, Program: Mikel Gajkowski; Headshots: Javier Rios; Lobby Display: Aimee Dastin and Mikel Gajkowski; Spot #1 Operator: Tyler McGee; Spot #2 Operators: Adrian Steele and Adam Johnson; Fly: Steven Yates; Rigging Chief: Christopher Smith; Light Board Operator: Joni Hughes; Run Crew: David Duval, Lainie Stuart, Lisa Nuccio, Sergio Melwhich, Chris Kohlbeck, Micah Lacasse, and Emily Weaver; Audition/Callbacks Accompanist: Paige Rammelkamp; Audition Volunteer: Kendall Billings; Dance Assistant (Auditions): Elda Trombley

The post Positivity and pure joy in ‘Legally Blonde the Musical’ by The Arlington Players appeared first on DC Theater Arts.

Better Said Than Done produced its annual Women’s Storytelling Festival last week at the Sherwood Community Center in Fairfax, Virginia. In-person performances are over, but recordings will be available for streaming online through Monday, April 28, 2025. The Festival featured 19 women from all over the country, with varied fields of study and levels of expertise. The event consisted of multiple showcases spanning several days, with some that were solely available online.

I was able to listen in to the virtual kickoff, introduced by Bonnie Gardner, who also serves on the Better Said Than Done Board of Directors. But it wasn’t until I attended the in-person afternoon showcase, on Saturday, March 22, that I fully grasped the complexity of emotions and camaraderie that live storytelling can imbue in a person.

A small elevated platform sat at the front of the open room, with a microphone on a stand. Assorted artworks decorated the walls, and folding chairs were placed in rows for the audience. The mood was very relaxed and welcoming. Sunlight poured in from the uncovered windows, brightening the space and warming the air.

I had the unexpected good fortune to attend when the Emcee was none other than the illustrious Jenn White, who is the host of WAMU’s 1A. Once I recovered from my fangirling, I was able to sit and relax to enjoy the show.

There were five speakers featured in this segment, and the stories were a mix of history, fiction, embellishments, and fantastical imaginings. Laura Deal spoke from a place of memory, mixed with magic, about the charming pairing of a turtle and an old reed organ. Aimee Snow shared an intimate story about a romance gone wrong that anyone who has ever dated could relate to. Laura Packer spun a tall tale with vivid characters named Crazy Jane and Red-Haired Annie. Andrea Kamens gave a personal account of visits with her aunts, but added some poignant perspective in a touch of Little Red and the Wolf. And Sarah Snyder told of her time as a caregiver in the final days of her mother’s life on this earth.

I sighed. I laughed. I cried. I found myself listening intently while simultaneously musing through my own recollections. Connecting to the words in a visceral way that surprised me. I had never attended an event like this before, and I was unsure of how I would respond. Of course, I have listened to the Big Broadcast for years, heard many episodes of the Moth, and subscribed to a podcast or two, but the intimacy of the space, the personal content of the stories, and the unspoken togetherness of the experience caught me by surprise and left me feeling peaceful, and more open to others around me.

Now I am a new fan. I’m excited to further explore the nearly 15 hours of content from The Women’s Storytelling Festival. The Festival is just one of many events that Better Said Than Done provides. On March 31, there is a 90-minute personal workshop for individuals interested in exploring their inner storyteller. There is also an upcoming event at Clare and Don’s Beach Shack on April 26 at 6 pm, themed “The Great Escape.”

I was incredibly moved by Better Said Than Done’s celebration of women and gender-nonconforming spoken-word performing artists. Attending the live event has opened me up to an entirely new world of art, and for that, I am eternally grateful. And who knows what other journeys of the mind and heart this genre can bring to my life? I will have to simply live, explore, and share my own tale.

Running Time: Performances were divided into Showcases ranging from one hour and 15 minutes to two hours long.

The 2025 Women’s Storytelling Festival was presented March 20 through 23, 2025, by Better Said Than Done at the Sherwood Community Center, 3740 Blenheim Blvd, Fairfax, VA. Video recordings of all stories are available for streaming until April 28, 2025, with sales closing on April 8. Tickets ($45) are available for purchase online.

The Women’s Storytelling Festival is intended for a mature audience.

Storytellers: Laura Deal, Swapna Deshpande, Linda Gorham, Jennifer Hillery, Tobey Ishii Anderson, Andrea Kamens, Amanda Lawrence, Carol Moore, Miriam Nadel, Ingrid Nixon, Laura Packer, Jessica Robinson, Aimee Snow, Sarah Snyder, Karin Amano, Sarah Brady, Sarah Beth Nelson, Shani Womack, and Janel Woodland.

Festival Emcees: Bonnie Gardner, Sherry Grimes, Jeanna Lee, Jamie McElhatton, Miriam Nadel, Kristin Pedemonti, Mayor Catherine Read, Lauren Stephens, and Jenn White

SEE ALSO:
Better Said Than Done to present Women’s Storytelling Festival (news story, February 28, 2025)

The post Better Said Than Done’s moving Women’s Storytelling Festival now streaming appeared first on DC Theater Arts.

Avant Bard Theatre presents a truncated and transformed adaptation of a collection of Shakespeare’s histories titled The Margriad, or the Tragedy of Queen Margaret, playing through March 29 at the Gunston Arts Center in Arlington, Virginia. Adapter Séamus Miller, who also directed this captivating piece, pulls from Richard II, Henry V, Henry VI (Parts 1–3), and Richard III, adding original text and shifting the focus to the character arc of Margaret of Anjou, including her journey to becoming the Queen of England, the role she played in the infamous War of the Roses, and her ultimate fall from power.

Before entering the black box theater, patrons had to choose between the House of York and the House of Lancaster. Each individual is branded accordingly (with a sticker or temporary tattoo) with the white or red rose that symbolizes their allegiance and then is made to sit on segregated sides of the audience. Posted along the hallway of the entrance were several sheets laying out the distinction between the members of the Houses and further historical background on Margaret, including fascinating tidbits leading to her being dubbed the She-Wolf of France.

The stage was a large, relatively empty space, boxed in by black curtains, with the occasional prop or set piece carried on for various uses. Bleachers for the crowd sat at the front of the room, with a narrow aisle down the center dividing the two sections and allowing a walkway for the actors to enter or exit. Lighting Designer Solomon HaileSelassie does a tremendous job utilizing the expansive area and creatively casting shadows to highlight specific portions at any given time and adding a sometimes ethereal and other times ominous air.

The ensemble consists of seven players, each taking on multiple roles as the material spans from 1377 to 1485. But the main driver of the story is Stephen Kime, credited as The Chorus in the program. Kime serves as a narrator of sorts, with the job of jumping into scenes to fill a handful of smaller unlisted roles, including a hilarious recurring appearance as a Messenger. Kime is a kaleidoscope of characters with a wide array of accents, emotions, and appropriate hats, providing much-needed levity in an otherwise bloody and dark tale and delivering an impressive performance requiring agility and mental gymnastics that is fascinating to watch.

The show is presented as three acts, with a different actress featured as Margaret in each of the sections. Alyssa Sanders (Margaret 1) is the first iteration, followed by Sara Barker (Margaret 2), and finishing with Kathleen Akerley (Margaret 3). Aside from the simple necessity for every actor to carry various roles, the transitions from Margaret 1 to 2 to 3 also aided in amplifying her evolution from youthful bride to ambitious leader to vengeful mother and allowed each actor a chance to shine.

Samuel Richie was the weak and malleable Henry VI and stood out as he brought the journey from child king to deposed monarch to life. Devin Nikki Thomas was Richard III but notably dominated, however briefly, as Joan of Arc defiantly being burned at the stake, illustrated by HaileSelassie’s brilliant lighting effects. And Kiana Johnson played King Edward IV but was my personal favorite as Richard, Duke of York, bringing an infectious energy to every scene with a blend of devious cunning and fiery ambition.

Séamus Miller’s script for The Margriad, or the Tragedy of Queen Margaret is written with a deliberate balance of humorous asides — breaking the fourth wall as Kime’s Chorus flippantly dismisses Thomas’ Richard III’s well-known “Now is the winter of our discontent” speech as an unnecessary time-suck that the audience already knows — while adding compelling and insightful reflections on the waste of war, highlighting pivotal characters, speaking from the shadows of the afterlife on their titles, their important deeds, and their ultimate death, with a wistful utterance of “I don’t remember why.” The end result is a wild ride of humor, deceit, devotion, and death, and Avant Bard’s cast ups the ante with incredible presence, versatility, and raw talent. The entire production was quite exhilarating to watch and created a fresh and original take on a very old and thoroughly studied history.

I would highly recommend catching Avant Bard’s production of The Margriad, or the Tragedy of Queen Margaret. As Miller notes in the program, “In this disturbing era of forever wars (not to mention in this political moment, in which we cannot even agree on the facts), it is perhaps necessary to restate the obvious: war is hell.” Because today is a scary time. And we are not as far off from those hellish times as we would like to think. A key part of Avant Bard’s mission clearly states their desire to produce “thought-provoking theatre” and this production has succeeded in spades.

Running Time: Two hours and 10 minutes, including two 10-minute intermissions.

The Margriad, or the Tragedy of Queen Margaret plays through March 29, 2025, presented by Avant Bard Theatre performing at Gunston Arts Center, Theatre Two, 2700 S. Lang St, Arlington, VA. Showtimes are 7:30 pm Thursday through Saturday, and 2:00 pm matinees Saturday and Sunday. Tickets are ($40 for general admission; $20 for students, seniors, and military veterans and servicemembers) are available online. Saturday matinees (including a mask-required performance on Saturday, March 22) are pay-what-you-can. Federal employees who have been wrongfully terminated by the current administration are welcome to complimentary tickets. Email info@avantbard.org with the date and time of the performance you would like to attend.

The digital program is here.

The Margriad, or the Tragedy of Queen Margaret

CAST
Margaret 1: Alyssa Sanders; Margaret 2: Sara Barker; Margaret 3: Kathleen Akerley; King Edward IV: Kiana Johnson; Henry VI: Samuel Richie; Richard III: Devin Nikki Thomas; The Chorus: Stephen Kime

PRODUCTION AND DESIGN TEAM
Director and Adaptor: Séamus Miller; Stage Manager: Laura Schlachtmeyer; Assistant Director: Rachel Johns; Fight & Intimacy Choreographer: James Finley; Sound Designer: Marcus Kyd; Lighting Designer: Solomon HaileSelassie; Costume Designer: Charlie Van Kirk; Master Electrician/Lightboard Programmer: Pierce Stoneburner; Lightboard Programmer 2: Sage Green; Photographer: DJ Corey; Marketing Graphics Designer: Jacob Walker; Tattoo Designer: Andy Gomez Reyes; Box Office/Program Design: Josie Palmarini; Volunteer Comms Director: Rebecca Forrest; Electricians: Patrick Carter, Sage Green, Dazinsky Muscadin, Sean Preston, and Mitchell Robinson

SEE ALSO:
Avant Bard to take on Shakespeare’s most formidable queen in ‘The Margriad’ (news story, February 19, 2025)

The post Avant Bard’s ‘The Margriad’ is an exhilarating Shakespearean remix appeared first on DC Theater Arts.

The Arlington Players’ current production of The Play That Goes Wrong is everything you didn’t know you needed to inject some levity and good-old slapstick silliness into an otherwise stressful and chaotic time. The comedy, written by Henry Lewis, Jonathan Sayer, and Henry Shields, is about an amateur theater company putting on a murder mystery that goes horribly, terribly, hilariously wrong.

The play within a play begins with the welcoming of the audience to the opening of Cornley University Drama Society’s newest production, The Murder at Haversham Manor, by the company’s Director, Chris Bean (Eric Kennedy). Bean, who plays Inspector Carter, gently lowers the crowd’s expectations with some humorous call-backs to previous, not-so-successful productions. And the Stage Manager (Anastasia Brunk) announces that there is a dog in the show that has unfortunately gone missing. With no further context or actual concern, the adventure begins.

Apollo Young plays Charles Haversham, who has been murdered and is found (somewhat) unresponsive on the eve of his engagement party by his friend Thomas Colleymoore (Christopher Smith) and Butler Perkins (Judah Canizares). The duo is at first unsuccessful in entering the scene through a jammed door but manages to “sneak” on stage. They are soon joined by Haversham’s fiancée (and sister to Thomas) Florence Colleymoore (Mary Rodrigues), who displays all the markings of a melodramatic diva, and Charles’ brother Cecil Haversham (John Jennings), who almost immediately proves that the fourth wall simply does not exist in this realm.

As you can imagine, it becomes abundantly clear, quite quickly, that this group of thespians does not have their proverbial ducks in a row. At first, the flubs are small and subtle — the lights come up too soon for a scene, or someone mispronounces a word — but as the story progresses, the incidents become more frequent and impossible to ignore. The stretcher breaks, causing the dead Charles Haversham to inch-worm and roll himself off of the stage. Props are mixed up, an affair is revealed, and a sword fight evolves into a pantomimed exchange of “swooshes” and “clangs” once blades are broken.

I would not want to spoil all of the comedic trips, falls, and various misfortunes that befall the cast, but the prep and planning required to create the events that transpired effectively and safely is a huge feat.

The technical creatives and crew have done a phenomenal job on this production and deserve a standing ovation for their coordination and delivery of some spectacular effects.

Technical Director and Set Designer Skip Gresko, along with Scenic Designer Kimberly Leone and Lead Carpenter Tom O’Reilly, created a gorgeous home interior, which includes a door off left into a lift that then brings the actor to a second level, where there is an office. The platform for the elevated floor shares two walls with the rest of the interior and is supported by a single column. There is also a mantle, a large built-in rotating bookshelf, and a grandfather clock that steals a scene.

The Arlington Players’ The Play That Goes Wrong is delightfully fun, and the cast is full of charm and presence that make the whole experience one giant laugh fest. Actors are knocked unconscious multiple times, and a floor nearly collapses, but the show must go on!

The material is suitable for any age, and I highly recommend this show for families and anyone who could use a good chuckle. This wonderfully lighthearted and mood-lifting production features a plethora of spit-takes, mixed-up sound cues, and shenanigans galore. Do yourself a favor, grab some friends, and sit back to enjoy the good things in life while you can. Support live theater and encourage community.

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

The Play That Goes Wrong plays through February 16, 2025, presented by The Arlington Players performing at the Thomas Jefferson Community Theatre, 125 South Old Glebe Road, Arlington, VA. Tickets ($30 for adults, $25 for seniors and military, and $20 for students and children) can be purchased online or by contacting The Box Office at 703-549-1063 or via email (TAP@thearlingtonplayers.org).

See the full program here.

The Play That Goes Wrong
By Henry Lewis, Jonathan Sayer, and Henry Shields

CAST
Chris Bean (Inspector Carter): Eric Kennedy; Robert Grove (Thomas Colleymoore): Christopher Smith; Max Bennett (Cecil Haversham/Arthur the Gardener): John Jennings; Dennis Tyde (Perkins): Judah Canizares; Trevor Watson (Lighting & Sound Operator): Alexandra Lagos; Jonathan Harris (Charles Haversham): Apollo Yong; Sandra Wilkinson (Florence Colleymoore): Mary Rodrigues; Annie Twiloil (Stage Manager): Anastasia Brunk; Stage Hand (Swing: Annie & Trevor): Idil Erdogan; Stage Hand (Swing: Sandra): Danielle Comer; Stage Hand (Swing: Chris/Max/Dennis): Jeremy Austin; Stage Hand (Swing: Robert/Johnathan): Luke Martin

PRODUCTION TEAM
Producer: Laura Gouge and Steven Yates; Assistant Producer: Kristen Parody; Director: Maureen Dawson; Assistant Director: Allison Gray-Mendes; Stage Managers: Ramah Johnson and Maggi Richard; Assistant Stage Manager: Nolan Hughes and Meghann Peterlin; Technical Director/Set Designer: Skip Gresko; Scenic Designer: Kimberly Leone; Lead Carpenter: Tom O’Reilly; Lead Painter: Kimberly Leone; Prop Designers: Erin Branigan and Katherine Offutt-Ross; Set Dressing: Emma Bowers and Erin Branigan; Lighting Designers: Jeff Auerbach and Kimberly Crago; Sound Designer: Adam Parker; Sound Mixer: Kiersten Bowman; Costume Designer: Anna Marquardt; Hair and Makeup Designer: Robin Maline; Dialect Coach: Alden Michels; Fight Choreographer: Jillian Riti; Intimacy Choreographer: Jillian Riti; Clowning Expert: Matthew Pauli; Props Coordinator: Allison Gray-Mendes; Light Board Operator: Joni Hughes; Sound Crew: Colette Yeager; Run Crew: Kendal Billings, Katie Lewis, Lisa Nuccio, Amelia Rosegrant, and Nico Uy

The post ‘The Play That Goes Wrong’ by The Arlington Players is one giant laugh fest appeared first on DC Theater Arts.

Sam Shepard’s 1983 play Fool for Love is a controversial work that bends the mind and heart in ways that one might not think (or want) possible. The tumultuous and complicated love affair of two deeply wounded humans, Eddie and May — who are as magnetically drawn together as they are poisoned by the toxicity of their connection — is a heartbreaking train wreck that is hard to watch but impossible to look away from.

NOVA Nightsky Theatre is currently performing this unconventional story with an incredibly talented cast at the Falls Church Presbyterian Church. The set is an old motel room with a bed, a small kitchenette table, and a dresser with an old 1980s television on top. The colors are muted, and the walls are bare, which imbues the scene with a hint of forlornness even before the action begins.

Jaclyn Robertson is May, holed up in the run-down motel in the desert and tracked down by her former flame Eddie, played by Nate Eagle. Eddie attempts to convince May to come back to him and live out a fantasy future that he has envisioned for them, but May refuses citing implications of another woman and his habit of abandoning her repeatedly.

Robertson and Eagle as May and Eddie are a phenomenal powerhouse pair, with palpable chemistry and compelling performances that bring a realness to their characters that can often be spoiled with an excess of melodrama and overwhelming fury.

On the surface there are hints of alcoholism, abuse, infidelity, and all the familiar roadblocks of a romantic relationship. But as their argument progresses and history is revealed, their troubles prove to far exceed the “normal” hangups of a couple at odds. To make matters worse, May informs her unwelcome ex that she is expecting a man to show up to take her on a date at any moment.

John Paul Odle is the unfortunate man interested in the wrong girl at the wrong time, Martin. Upon hearing May and Eddie’s arguing from outside of the motel room, he bursts through the door and tackles Eddie in what he believes is an attempt to rescue May from an assault. Poor explanations of a visiting cousin and loads of awkwardness later, and Martin is listening to Eddie go into the sensitive and deeply personal details of his past with his “cousin.” Odle’s Martin is patient and understanding but utterly confused, and does a great job creating the natural but antsy energy of a person in an impossibly uncomfortable situation.

Kevin Dykstra is The Old Man, who sits in the far downstage corner most of the time, watching the intimate moments, heightened drama, and unfortunate love-triangle development of Eddie and May. His identity is ambiguous at first, and he is clearly on a plane apart from reality, but as he interacts with the pair, arguing about differing accounts of the stories being told and offering his own reminiscence in context, the dynamic of their connection becomes clear. And the reliability of his input is muddied. Dykstra’s Old Man is oblivious to the wreckage of his own life and serves as, if not a justification for the horrid situation, at least a pitied understanding of how things came to be.

NOVA Nightsky’s production of Sam Shepard’s Fool for Love is a wonderfully executed and highly entertaining piece of the theater that highlights the complexities of love and perception, while demonstrating how easily lives can be turned to chaos by the negligence of others.

The show leaves the audience as life often does, without a resolution or hope for peaceful reconciliation. But the journey is one of those hard-to-describe experiences that evoke and inspire impassioned conversations long after an event has ended. The cast does a phenomenal job bringing a heartwrenching and tragic story to life, honoring the material’s unique and profoundly emotional text.

Running Time: Approximately 90 minutes, with no intermission.

Fool for Love plays through February 15, 2025, presented by NOVA Nightsky Theater performing Falls Church Presbyterian Church, located at 225 E Broad St, Falls Church, VA. Tickets ($28, with a $0.70 service fee for General Admission) are available for purchase at the door or online.

Fool for Love
By Sam Shephard
Directed by Chris D’Angelo

CAST
Nate Eagle: Eddie
Jaclyn Robertson: May
John Paul Odle: Martin
Kevin Dykstra: The Old Man

Stage Managed by Hannah Ruth Blackwell

The post Intense and impassioned ‘Fool for Love’ at NOVA Nightsky Theatre appeared first on DC Theater Arts.

Nu Sass Productions and the Sirens of Sin have tossed their hat into the ring over the controversial debate that has plagued American families for decades and produced a Christmas musical parody of Die Hard titled Bi-Hard: Strippy-Ki-Yay, and it was as flamboyantly hilarious and campy as you would imagine.

The show took place on a small stage in the far back corner of the Comedy Loft in DC, with Green Bay Greta and Ruth Bader Sinsburg MCing as characters Plot and Device, respectively. The duo did a good job immediately engaging with the audience with a casual and “regular day at the office” attitude, guiding the adventure and not so subtly plugging their Sirens of Sin hashtag for audience contributions.

Evie En Rose played the gruff John McClane, with white tank and drawn-on stubble to complete the look. Carmina Nirvana was McClane’s estranged wife, Holly McWife, who wore a short skirt and spoke with the coquettish ineptness required for every sexy damsel in distress. And Venus Star-Trap portrayed the villainous Hans Boober with a devilish charisma that would make that late, great Alan Rickman proud.

The story followed the basic theme and even included some of the classic Die Hard imagery and lines, like McClane’s scene crawling through the ventilation ducts, regretting having listened to his wife’s “Come out to the coast, we’ll get together, have a few laughs…” invitation. But the show also included musical acts and a few surprise holiday guest additions like The Virgin Mary (Jules Galor), Baby Jesus (Jack Rabbit), and seasonal duo the Snow Miser (Za Za Galore) and the Heat Miser (Lady Rocket).

The song list was an eclectic mix from Disney to Dean Martin to Beethoven. The cast sang, danced, and stripped their way through Kesha’s “Blow” by Za Za Galore, Bobby Brown’s “My Prerogative” by Kirkland Brown, Chris Isaak’s “Baby Did a Bad Bad Thing” by Lady Rocket, and Aerosmith’s “I Don’t Want to Miss a Thing” by Evie En Rose.

The musical comedy was all fun and pun, entirely not safe for work, and hilariously melodramatic, with multiple moments that stood out. Jack Rabbit as Argyle singing “Bear Necessities” from The Jungle Book, accompanied by a large, fluffy teddy bear doing unspeakable deeds, rendered the entire audience hysterically inconsolable for a medically unsafe amount of time.

But the highlight for me was Venus Star-Trap’s Hans Boober executing a lyra (aerial hoop) routine while crushing Alicia Keys’ “Fallin’.” The vocals were not only great but coupled with the aerial hoop anchored from the ceiling centerstage, beyond impressive and wildly entertaining.

The show was plagued with some sound malfunctions, but the cast just rolled with the mishaps and incorporated them into the banter. And I would love to call out a costumer, but there was none listed so I can only assume the work was a collective effort and still deserves mention. Especially for the festive and sexy pieces that adorned Za Za Galore as the Snow Miser and Lady Rocket as the Heat Miser.

Nu Sass Productions and the Sirens of Sin’s performance of Bi-Hard: Strippy-Ki-Yay was my second experience with this bawdy, burlesque group, and the entire event was a ridiculously good time. The satire is full camp with no apologies and the crowd enjoyed every minute of it. If you are at all offended by sexual content, this show is not for you. But, if you enjoy racy, raunchy funfests, I suggest you check it out.

Running Time: Approximately one hour and 30 minutes, with one 15-minute intermission.

Bi-Hard: Strippy Ki-Yay played December 15 and 22, 2024, presented by Nu Sass Productions performing at The Comedy Loft of DC – 1523 22nd St NW, Washington, DC. Tickets cost $25 for general seating and table or bar services were available for food and drink. For more information and future events produced by Nu Sass or performed by the Sirens of Sin, visit their website.

18+ only.

Bi-Hard: Strippy Ki-Yay

CREW
Artistic Director: Jules Galore; Technical & Media Director: Bryan Arminio; Master Carpenter: Joe Largess; Stage Manager: Emerald Sprankers

CAST
Evie En Rose: John McClane; Venus Star-Trap: Hans Boober; Jack Rabbit: Argyle/Baby Jesus; Carmina Nirvana: Holly McWife; Kirkland Brown: Copper Winslow; Za Za Galore: Nerdlette/Snow Miser; Lady Rocket: Heat Miser; Jules Galore: Blessed Virgin; Leo Lovegood: Ellis The Cokehead/Flannel Hallmark Guy; Green Bay Greta: Plot; Ruth Bader Sinsburg: Device

TRACK LIST
Christmas in Hollis (Run DMC) – performed by group
Jump For My Love (Pointer Sisters) – performed by Evie En Rose
Let It Snow (Dean Martin) – performed by Jules Galore
Good Luck Babe (Chappell Roan) – performed by Carmina Nirvana
Bear Necessities (The Jungle Book) – performed by Jack Rabbit
Dentist (Little Shop of Horrors) – performed by Leo Lovegood
Blow (Kesha) – performed by Za Za Galore
My Prerogative (Bobby Brown) – performed by Kirkland Brown
Baby Did a Bad Bad Thing (Chris Isaak) – performed by Lady Rocket
Sweet Child O’ Mine (Guns n’ Roses, arrangement by Baltic House Orchestra) – performed by Jules Galore
I Don’t Want to Miss a Thing (Aerosmith) – performed by Evie En Rose
Ode to Joy (Beethoven) – performed by Carmina Nirvana
Fallin’ (Alicia Keys) – performed by Venus Star-Trap
As Long As You Love Me (Backstreet Boys) – performed by Leo Lovegood
Hot to Go (Chappell Roan) – performed by group

The post A hilarious and campy ‘Bi-Hard: Strippy Ki-Yay’ from Nu Sass Productions appeared first on DC Theater Arts.

Charles Dickens’ A Christmas Carol was first published 181 years ago, the same year as the invention of the rotary printing press. And while many advances have been made since that time for the betterment of mankind, the concept of a selfish, money-hungry, miserly old man in dire need of a moral makeover still rings true and more relevant than ever.

Little Theatre of Alexandria recently closed the Christmas classic, adapted by Donna Ferragut, after completely sold-out houses for the entire run. I had the good fortune to catch a performance in the final week and attended with my son, who is home from ODU for winter break.

Ferragut’s adaptation is abridged and brings the production down to about a 70-minute runtime, which is great for families with young children. The heart of the story remains fully intact; plus several standard Christmas songs have been added to enhance the experience, accompanied by live musicians as part of the cast, and including a sing-along of “Here We Come A-Caroling” after the curtain call.

Scenic Designer MYKE Taister created an open and festive background with rows of Christmas trees lining the upstage area, and moving set pieces such as Scrooge’s four-poster bed, a door, and chairs to signify various scenes. Lighting Designer Ari McSherry utilized the Christmas tree lights along with some more haunting hues and chain shadow effects for the ghosts to add a touch of the ethereal, without sparking too much fear in the family-friendly atmosphere.

The show begins with Tony Greenberg as Charles Dickens himself, walking through the house and onto the stage as he chats pleasantly and introduces the production. Greenberg has a calm and inviting presence and also appears later in the production as the jovial Fezziwig and the Ghost of Christmas Future

While the text has been shortened, the dialogue is still straight from Dickens’ pen, and Peter Fannon plays the crotchety old Ebenezer Scrooge with masterful intonation and delivery, allowing the humor and shrewd nature of the source material to shine through.

Jacob Marley is performed by Andrew Huff, Robert J. Ryley is the endearing nephew Fred (and Young Scrooge), and Mike Kroboth is the kind Bob Cratchit. Each performer does a fine job bringing their characters to life and honoring the beloved journey of redemption and second chances.

Director Sarah Hardy establishes a steady pace from the beginning, which causes the time to flow by quickly. And costume designer Isabella Taylor has done a lovely job creating an appropriate period feel, with some standout pieces like the Ghost of Christmas Present’s (Spencer Pilcher) robe and the Ghost of Christmas Past’s (Siena Butler) gorgeous red and silver dress.

The Little Theatre of Alexandria’s production of Charles Dicken’s A Christmas Carol was just what the doctor ordered for a taste of nostalgic comfort and hits all of the traditional notes that are expected of the beloved holiday tale. The ensemble was energetic and lively, and the vibe in the theater was incredibly jovial and comforting. An overall warming experience that can be enjoyed at all ages, every year.

Running Time: Approximately 70 minutes with no intermission.

A Christmas Carol played December 7 to 21, 2024, at The Little Theatre of Alexandria, 600 Wolfe Street, Alexandria, VA. For information on LTA’s upcoming productions, visit their website.

A Christmas Carol
Written by Charles Dickens
Adaptation by Donna Ferragut
Produced by Genie Baskir & Russell M. Wyland
Directed by Sarah Hardy

CAST
Charles Dickens, Fezziwig, Ghost of Christmas Future: Tony Greenberg; Ebenezer Scrooge: Peter Fannon; Bob Cratchit: Mike Kroboth; Jacob Marley, the Poulterer: Andrew Huff;
Ghost of Christmas Past, Ruth: Siena Butler; Mrs. Cratchit, the Skater: Maria Ciarrocchi; Fan, Belle Child: Penelope Porter; Belle, Mrs. Pipchin: Jen Ware; Fred, Young Scrooge: Robert J. Ryley; Mrs. Dilber, Mrs. Fezziwig: Judy Rolph Ebner; Caroline’s Husband, Gentleman 2, Businessman 2: Leo Mairena; Topper, Young Marley: Ned Muckerman; Ghost of Christmas Present, Gentleman 1: Spencer Pilcher; Dick Wilkins, Businessman 1, Pawnbroker Joe: Bruce Porter, Jr.
Young People, Cast A: Belinda Cratchit, Belle Child: Anna Jones; Martha Cratchit: Emily Moser; Youngest Cratchit Boy, Urchin: Connor Maloney; Tiny Tim, Belle Child: John Henry Bowers; Peter Cratchit, Boy Scrooge: Finnegan Smith; Turkey Girl, Belle Child, Want: Aria Bierzynski; Belle Child, Ignorance: Cecelia Garbaliauskas; Youngest Cratchit Girl: Abigail Rimmke; Caroline, Mary, Miss Fezziwig: Seychelle Shamir
Young People, Cast B: Belinda Cratchit, Belle Child: Hayleigh Estrella; Martha Cratchit, Miss Fezziwig: Caroline Bouma; Youngest Cratchit Boy, Urchi: Luke Aronstam; Tiny Tim, Belle Chil: Isaiah Salley; Peter Crachit, Boy Scrooge: Callan Smiley; Turkey Girl, Belle Child, Want: Ada Zablocki; Belle Child, Ignorance: Julianne Curley; Fan, Youngest Cratchit Girl: Scarlett Welker, Mary, Caroline, Miss Fezziwig: Elena Romero-Collette
Musicians: Percussion: Patrick Arenstam, Benjamin Gorini; Flute: Laticia Argueta

PRODUCTION STAFF
ProducersGenie Baskir, Russell M. Wyland; Director: Sarah Hardy; Stage Managers: Micheal J. O’Connor, Caitlin O’Leary; Music Director: Geoffrey Baskir; Assistant Producer: Mary Beth Smith-Toomey; Set Design: MYKE Taister; Master Carpenter: MYKE Taister; Carpentry Assistants: Jim Hutzler, Jeff Nesmeyer, Russell M. Wyland; Lighting Design: Ari McSherry; Master Electrician: Vinuthna Kanti; Electrician Assistants: Sylas Andrews, Lloyd Bittinger, Kimberly Crago, Cydney Harris, Pam Leonowich, Candace Moseley, Micheal J. O’Connor, Doug Samuelson, Sherry Singer; Sound Design: Alan Wray; Sound Assistant: David Correia; Costume Design: lsabella Taylor; Costumer Assistant: Genie Baskir, Jean Schlichting, Kit Sibley; Hair Design: Ashley Pruett; Hair Design Assistant: Kadira Coley; Makeup Design: Caitlan Dubbs; Set Painting: Mona Wargo; Painting Assistants: Caitlyn Dubbs, Melinda Dubbs, Marcela Harris, Martin Harris, Janet Kennelly, Karen Maline, Margaret McCarthy, Asher Nelson, Sheryl Rakestraw, Wendy Sneff, H. Paul Volden; Set Decoration: MYKE Taister and Russell M. Wyland; Decoration Assistant: Frank D. Shutts II; Properties Design: Monica Stumpo; Props Assistants: Siobhan Fisher, Brianna Lau, Caroline Pade, Emilie Pade, Jason Pade; Wardrobe Coordinator: Alisa Beyninson; Wardrobe Assistants: Beth Adler, Margaret Snow, Robin Worthington; Backstage Assistants: Joey Bowers, Kristine Maloney, Emme Porter; Photographers: Bob Aronstam, Matt Liptak; Rigging: Russell M. Wyland; Audition Coordinators: Ann Shively and Janice Zucker; Audition Assistants: Rita Costello, Rachel Dixon, Peter Fannon, Barbara Gertzog, Zell Murphy, Mary Beth Smith-Toomey, Ken Zabielski

The post Warmth and nostalgia in ‘A Christmas Carol’ at Little Theatre of Alexandria appeared first on DC Theater Arts.

The Hunchback of Notre Dame is an immense musical to take on, generally with enormous set pieces, a healthy-sized cast, and many moving parts to convey the large cathedral with stained glass windows, a bell tower, views from the parapet, and the bustling streets of Paris. However, through some creative, collaborative theater magic, The Workhouse Arts Center is in the middle of a run of this monster of a show in their tiny black box theater space in Lorton.

A beautiful set design by Matt Liptak divides the stage into sections. Upstage center are two rows of large bells, with columns, supports, and banisters the color of gray stone. And while the constructed bells did not actually ring, Lighting Designer Hailey LaRoe uses a sequence of soft-colored lights to create the illusion of visual soundwaves coming from the belfry.

Upstage right, there are large double doors, rounded at the top and painted to appear made entirely of stained glass, in a pattern that hints of the Rose Windows on the Notre Dame herself. The stage floor is also painted in segments, with tiles for the cathedral’s interior and cobblestones for the streets of town. A set of small portable banisters, matching the gray stone, are used frequently, moved around the stage to represent a bridge or to illustrate when looking from the top of the bell tower at the world below.

Director Emily “EJ” Jonas does a phenomenal job utilizing every angle and every level of the set to imply the many different locations and uses interweaving blocking, keeping the 18-person cast in constant motion to maintain a quick but natural pacing.

Gorgeous choreography by Anna Longenecker enhances Jonas’ direction. The tale begins with some exposition, with some moments acted out but a lot of dialogue, which is effectively accompanied by gracefully stylized dancing to amplify the emotion of the scene.

A good portion of the action is guided by Clopin Trouillefou (Ariel Friendly), the leader of the Parisian Roma group, and two Narrators, played by Stacey Yvonne Claytor (1) and Alicia Zheng (2). These three ladies are the heart and soul of this production, and each did an outstanding job carrying the story forward, powerfully accentuating the hate and love, as well as many other contrasts and outright hypocrisies of their world.

James B. Mernin was wonderful as the abused and overlooked Quasimodo. Mernin’s tone of voice, affected posture, and mannerisms were incredibly done, as was watching his transformation from a belittled ward into a strong-willed and powerfully strong man who fights back against evil and protects the ones he loves.

Playing the villainous and deeply conflicted Claude Frollo is Michael McGovern. McGovern displays the utter disgust that Frollo holds for most things outside of the cathedral and wears his discomfort well. Frollo is an antagonist completely absent of redeeming qualities, but must be performed with a passion so that the audience cheers at his demise. And cheer they did.

Noah Mutterperl was the levity needed amid all the sadness as Captain Phoebus de Martin, exuding equal parts confidence and allure. With Azaria Oglesby as the mesmerizing Esmeralda, the two made a playful pair with cheeky banter and fun flirtation.

In a show with all things grande, the music is no exception. Music Director Paige Austin Rammelkamp had her work set out for her with this powerful score and has created an exquisitely balanced and rich choral sound that mimics the magnitude of the cathedral setting. The songs are full of haunting melodies that pull the heartstrings and layered harmonies that send tingles through your soul.

There were many highlights to the musical, such as Oglesby’s Esmerelda divinely singing “God Help the Outcasts.” The glorious vocals in “The Belles of Notre Dame” gave me chills throughout every single reprise. And “Sanctuary” by McGovern’s Frollo was, while gorgeously sung, also deeply moving as the song highlights the synonymous intentions of the word Sanctuary to a Prison, one of multiple amplifications to the themes of isolation, imprisonment, and punishment of the innocent.

My absolute favorite, however, was the flawless execution of choreography by featured dancer Rachael Fine. Fine’s movement was nothing short of hypnotic, and the way dance was incorporated into many otherwise still moments in the production added a delicious poetic feel to the entire work.

The Workhouse’s Hunchback of Notre Dame is an experience worth having. The music, the movement, the acting, and the technical aspects of the production are wonderfully woven into an unforgettable musical event, with themes of good and evil, redemption, and love.

Director Jonas words the message of the material wonderfully in her program note:

May you leave inspired to see the beauty in others, embrace those who are different, and recognize the love that bindzs us all together.

Congratulations to Jonas on fulfilling her wish with this magnificent piece of theater and to the cast and crew on a job well done.

Running Time: Approximately two hours and 30 minutes, with one 15-minute intermission.

Disney’s The Hunchback of Notre Dame plays through January 12, 2024, at the Workhouse Arts Center’s W-3 Theater located at 9518 Workhouse Way, Lorton, VA. Tickets cost $30 to $40 for general admission or $65 for the New Year’s Eve show, which includes a post-show party with sweet and savory snacks, music and dancing, a cash bar, and a complimentary “bubbly” toast at midnight. Purchase tickets at the box office, online, or by calling 703-584-2900.

The playbill for The Hunchback of Notre Dame is online here.

COVID Safety: Masks are optional at Workhouse Arts Center for visitors and staff. If you prefer to wear a mask, you are welcome to do so.

Disney’s The Hunchback of Notre Dame
Music by Alan Menken, Lyrics by Stephen Schwartz, Book by Peter Parnell

Alan Menken, Stephen Schwartz, Peter Parnell

CAST
Clopin Trouillefou: Ariel Friendly; Narrator 1: Stacey Yvonne Claytor; Narrator 2: Alicia Zheng; Claude Frollo: Michael McGovern; Jehan Frollo: Preston Grover; Florika/Featured Dancer/Dance and Fight Captain: Rachael Fine; Father Dupin/ St. Aphrodisius: Brandon Schenk; Quasimodo: James B. Mernin; Captain Phoebus de Martin: Noah Mutterperl; Lieutenant Frederic Charlus/ King Louis XI: Darren Badley; Esmeralda: Azaria Oglesby; Madam: Thea Simpson; Swings: Mylo Cluff and Amelia Jacquat; Gargoyle/Others: Alicia Braxton, Rose Hutchison, Cam Powell, Garrett Walsh, and Shelby Young

PRODUCTION/CREATIVE TEAM
Director/Fight and Intimacy Coordinator: Emily “EJ” Jonas; Music Director-; Paige Austin Rammelkamp; Choreographer: Anna Longenecker; Assistant Director/Associate Intimacy Coordinator: Audrey Baker; Stage Manager: Jay Dews; Assistant Stage Manager: Jasmine Jones; Associate Fight Coordinator: Adian Chapman; Set Design: Matt Liptak; Lighting Design: Hailey LaRoe; Sound Design: Andie Matten; Costume Design: Judith Harmon; Costume Manager: Mikayla Kirr; Hair/Makeup Design: Robin Maline and Lanae Sterrett; Props Design: Martin Bernier; Master Electrician/Light Op: Brian Bachrach; Sound Programmer/Sound Op: Clare Pfeifer; Run Crew: Ziggy Reinert; Costume Assistance: Kevin Donlan

ORCHESTRA
Keys 1/Conductor: Paige Austin Rammelkamp (Sub Garrett Jones); Keys 2: Garrett Jones (Sub Steve McBride); Reeds 1: Hailey Nowacek (Subs Eunice Richardson, Dana Gardner, Gwyn Jones); Reeds 2: Josh Saville; Trumpet: Monique Abbitt (Sub Allie Woodbury); Violin 1: Rebekah Givens (Subs Audrey Chang, Melody Flores); Violin 2: Cindy Ross (Sub Alex Lew); Cello: Kate Rears (Sub Joan Wolfe)

UNDERSTUDIES
Quasimodo U/S: Mylo Cluff; Frollo U/S: Brandon Schenk; Esmeralda U/S: Thea Simpson-Diaz; Phoebus U/S: Preston Grover; Clopin U/S: Alicia Zheng; Narrator 1 U/S: Rose Hutchison; Narrator 2 U/S: Alicia Braxton

The post ‘The Hunchback of Notre Dame’ is unforgettable at Workhouse Arts Center appeared first on DC Theater Arts.

IN Series’ long-awaited production of Giuseppe Verdi’s Rigoletto has finally opened to boisterous applause and standing ovations. Originally scheduled for the 2019/20 lineup, the show was one of many to be suspended due to COVID but is now showing at the Aaron & Cecile Goldman Theater in the Edlavitch DC Jewish Community Center.

Verdi’s classic opera is being referred to as a “circus version,” so the action takes place in the ring rather than the palace of the Duke of Mantua. Instead of Italian, it has been adapted into English, with a new text by Bari Biern and a new orchestration by Timothy Nelson. The on-stage band, pared down from the usual orchestra, incorporates a taste of carnival into the score and is led by Music Director and Pianist Emily Baltzer.

The story, based on the play Le roi s’amuse by Victor Hugo, focuses on a jester, Rigoletto (meaning “to laugh”), in the court of a licentious and excessive Duke. At one of the Duke’s many orgies, Rigoletto mocks the husband of the Countess, whom the Duke is shamelessly pursuing. The other courtiers joke about the hunchbacked Rigoletto shockingly having a lover. And an elderly man curses both the Duke (for seducing his daughter) and Rigoletto (for mocking his pain). This opening scene, with many layers of debauchery and disrespect, is what motivates the rest of the storyline with separate yet interwoven vows of revenge.

Jonathan Dahm Robertson’s set design appears rather humble, yet perfectly suited for what can be expected of a circus tent. Blocks form a broken circle in the middle of the stage, serving as chairs, stools, or whatever the needs of the scene call for. A large curtain is upstage center, where many of the actors enter and exit, but also serves as a shadow screen, backlit to project scenes behind it or distort the size of a figure about to burst through onto the stage.

For a traditional cast of 13, not including a chorus to serve as courtiers and guests, this seven-actor ensemble is significantly smaller, but Costume Designer Donna Breslin helps to make the transition effective with the theme, using assorted capes, masks, hats, and even a muscle-man body suit to differentiate the characters. And, of course, the customary clown makeup, with exaggerated expressions, adds another layer of ambiguity to some of the performers.

Tenor Brian Arreola plays the shamelessly flirtatious scallywag Duke almost too well but is instead a mime in this iteration. He parades about the stage with comically puffed pride, oblivious to his effect on others. The Duke is far from a sympathetic role, but there is a level of charm required to avoid being labeled an absolute villain, and Arreola succeeds by embodying a playful, albeit careless, lover as he sings about the fickleness of women without a care in the world.

Chad Louwerse is Rigoletto, the fool of the bunch, who jokes with the Duke but is respected by no one. That is except for his daughter, Gilda (Teresa Ferrara), whom he keeps hidden away far from the rudeness of the court in order to protect her. Louwerse is the janitor of the circus, signifying the lowness of his position to performers of the troupe, comparable to that of a jester and courtier. Louwerse exhibits his versatility as Rigoletto, capturing his complexity when playing the joker, lamenting the curse, doting on his beloved Gilda, and railing in anger about her kidnapping.

Ferrara’s Gilda carries a single red balloon and displays childlike mannerisms with her posture and hesitance. She sings the infamous “Caro nome” and balances on top of the ring of boxes as if on a high wire. Ferrara and Louwerse’s interactions are touching and display a tenderness and genuine affection that is otherwise completely absent from the tragic opera.

Greg Sliskovich as Borsa and Henrique Carvahlo as Marulo are the clowns in the company but also fill in as guests. The pair more than compensate for the vast number of parts they represent with a menacing presence and booming voices. Along with the clown (and sometimes strongman), Andrew Adelsberger portrayed the murderous Sparafucile and Monterone, the father who issues the curse that sets the mayhem into action.

Elizabeth Mondragon is credited as Maddalena (who appears in the final act) but stands in for multiple parts, as well. Dressed like the ringmaster, she looms about the stage, silently but with an evil look and a sense of foreboding that always seemed to remind the audience that despite the festival aesthetic and occasional laughter, this event was indeed a tragedy.

And there were several amusing moments of levity amid the deception and doom. Arreola’s Duke disguises himself as Rigoletto’s maid, Giovanna, using a wrap and a strategically placed mophead to cover his face. Ferrara’s Gilda pretends to inhale the helium from her little red balloon to help hit a particularly high note of her aria. And Sliskovich’s Borsa appears to meander onstage with a cigar in one hand and a balloon on a dog leash in the other, as one does when in a circus act.

IN Series’ Rigoletto is far from the norm for regular opera goers, but the reduced size of the show, both visually and sonically, did minimize the intimidating aspect of the genre that often keeps opera virgins away. The adapted music was still gorgeously played with the occasional circus-esque accent and trained voices executing Verdi’s trimmed masterpiece well.

And the powerful moral of the material hit as harshly as ever, cautioning against the dark and disturbing ways that vengeance corrodes the soul and more often creates further pain rather than peace or healing.

I don’t know whether the choice to shrink the cast, translate the lyrics into English, and change the set to the familiar setting of an American circus was done with the intention of making opera more accessible, easier to understand, and more relatable to the common theatergoer, who may otherwise shy away, but that is indeed what has been done.

Overall, the production was wonderfully acted and sung. And while I may not understand every creative choice, I can recognize the skill and talent involved in taking a well-known work and molding it into something else — still beautiful, staying true to the meat of the storyline, and adding a personal modern touch. I would love to see it again to see if I can catch some other more subtle alterations that may have gone unnoticed. Or just to sit and enjoy a wonderful piece of live theater.

Rigoletto is the second of IN Series’ 2024/25 season, aptly titled “Illicit Opera,” showcasing art that was originally banned due to political and socially motivated censorship: a neutral word for the oppression of new or different voices in creativity that we are again facing in our world today. The next installment of IN Series’ “Illicit Opera” season will be Monteverdi’s Poppea and is scheduled to open in March 2025.

Running Time: Approximately two hours and 30 minutes, with one 15-minute intermission.

Rigoletto plays through December 15, 2024, presented by IN Series performing at the Aaron & Cecile Goldman Theater in the Edlavitch DC Jewish Community Center, 1529 16th Street NW, Washington, DC. Purchase tickets ($72 for reserved seating, $57–4$2 for general seating, and $35 for students) online or by calling 202-204-7763.

Rigoletto also plays December 11 and 12, 2024, at the Baltimore Theatre Project, 45 West Preston St., Baltimore, MD. Purchase tickets ($20–$30) online or by calling 410-752-8558.

Rigoletto
Music by Giuseppe Verdi
New English Text by Bari Biern

CAST
Brian Arreola: The Duke; Teresa Ferrara: Gilda; Elizabeth Mondragon: Maddalena; Chad Louwerse: Rigoletto; Andrew Adelsberger: Sparafucile/Monterone; Greg Sliskovich: Borsa; Henrique Carvahlo: Marulo

PRODUCTION TEAM
New Orchestration: Timothy Nelson; Stage Director: Timothy Nelson; Music Director/Pianist: Emily Baltzer; Set Designer: Jonathan Dahm Robertson^; Costume Designer: Donna Breslin; Lighting Designer: Paul Callahan^; Production Manager: Tori Schuchmann; Technical Directors: Willow McFadden and Megan Amos; Stage Manager: Hannah Blaile
^: Member of United Scenic Artists

INSTRUMENTALISTS
Patrick Crossland; Kaitlin Gimm; Cheryl Hill; Carrie Rose; Jeff Thurston; Maxfield Wollam-Fisher

SEE ALSO:
IN Series to present circus version of censored Verdi’s ‘Rigoletto’ (news story, October 18, 2024)

The post IN Series stages ‘Rigoletto’ in English in a circus ring to boisterous applause appeared first on DC Theater Arts.

Mary Zimmerman’s adaptation of Ovid’s magnum opus, Metamorphoses, is a contemporary retelling of classic Greek and Roman mythologies focused on transformations of the body and the mind. The show is a hybrid of genres: drama and tragedy, blended with bits of comedy and conveyed by a mixture of movement, aesthetics, and poetic language.

Using the stories of Midas turning his daughter into a statue of gold, Vertumnus attempting to woo Pomona through numerous disguises instead of revealing his true self, and an old couple, Baucis and Philemon, turning into intertwined trees to remain forever together, Zimmerman’s play highlights the various facets of love and the ways its many moods of passion, greed, and lust can forever change a soul’s identity.

University of Maryland’s School of Theatre, Dance, and Performance Studies just closed its production of Metamorphoses and did a wonderful job capturing the nuanced tales of human folly, gods with superiority complexes, and other weaknesses of the flesh using a balanced blend of lighting, costumes, dance, and intonation to artfully express the otherworldliness of the mythical gods and their escapades on earth.

The black box theater had tiered seating on each side with the performance area taking up the entire length of the middle of the room. Scenic designer August Henney erected scaffold-like structures on either end, for the gods to be able to look down on the action below, and the main stage consisted of a large platform, built to resemble a stone patio with large boulders and a natural pool in the center. Water is in itself representative of cleansing and rebirth, and its liquidity of form echoes the ever-changing nature of humans.

An 11-person cast covers a wide range of characters, with each actor taking on multiple roles. The structure of the piece is a series of vignettes with alternating narrators guiding the audience from tale to tale. Hayden Polsky played the almighty creator Zeus the night I attended, then becomes the narrator in another scene, and then King Cinyras, a father tricked into lying with his daughter. With alterations to the costumes and adjustments to stature and mannerisms, the actors successfully have their own transfigurations as they embody leaders, lovers, and lowly servants.

Marrs Burggraf is King Ceyx, who dies at sea but is reunited with his wife after they are transformed into birds and fly off together. Then Burggraf appears as the sun god, Apollo, in all his might, laden with the guilt of being a neglectful father. Terrance Ngwafor is the shy lover Vertumnus, god of the seasons, but in the next scene is seen as the whining Phaeton, demanding his turn to drive the sun across the sky from his father, Apollo. Every actor portrays their parts with seeming grace and a naturalness that was delightful to watch, molding into each new role with the ease of slipping on a silk shirt.

Beautiful movement, choreographed by bree breeden, complements the direction of KenYatta Rogers and is interlaced throughout the production in a very subtle and seamless fashion. When Orpheus (Burggraf) leaves the underworld, having been granted by Hades (William Nash) to take his beloved Eurydice (Nina Omatsola) with him, it is on the condition that he never turn around to check that she is following behind him. Orpheus, unable to resist the temptation, turns to glance behind him. As he does, the lights change, and Eurydice collapses and spins away from him, whispering “goodbye,” causing Orpheus to turn back to the path, and Eurydice again follows behind. They walk slowly around the stone basin, repeating this pattern of turning away and continuing on at a somber cadence that heartbreakingly displays their eternal but doomed connection.

Bailey Hammett’s costume design plays its own part in the storytelling and helps to accentuate breeden’s steps. When the ungodly and selfish Erysichthon (Polsky) is cursed for felling a sacred tree of Ceres (Emma Callagy), goddess of agriculture, Ceres sends Hunger (Amelia Talbot) to plague him. Talbot is covered in a dark bodysuit, face covered, arms and torso wrapped with vines. Slinking across the rocks, Hunger crawls and attaches like a parasite to Erysichthon’s back, driving him to consume away his fortune and ultimately consume himself. The effect is eerie and dark, with a touch of comic absurdity, which suits the work perfectly.

Another exquisite execution of the creative team’s vision is the scene between Eros (Nash), god of love, and Phyche (Lucy Bond). The couple wade in the shallow pool, Psyche in what looks like a linen gown, and the blind Eros, with wings fastened to his back, resembling as close to a god as a person can. The image of the pair, reaching out for one another across the water, was gorgeously picturesque.

UMD School of Theatre, Dance, and Performance Studies’ rendition of Zimmerman’s Metamorphoses served the source material well and conveyed its thoughtful and sometimes playful insights on the faults of humans and gods alike. The rather artsy production is an almost indulgent work that spoils the senses with poetry, elegant choreography, and splashes of color and light (designed by Scott Monnin). Watching the story unfold was a wonderful experience, executed with clear professionalism and skilled passion. Congratulations to the talented cast and crew for creating a true piece of art, and honoring one of the great works of literature, with a modern touch.

Running Time: Approximately one hour and 40 minutes, with no intermission

Metamorphoses played November 15 to 22, 2024, presented by the University of Maryland School of Theatre, Dance, and Performance Studies performing in the Kogod Theatre at The Clarice Smith Performing Arts Center, located at 8270 Alumni Dr, College Park, MD. Tickets ($25, general public; $10, students and youth) could be purchased through email (tickets-theclarice@umd.edu), by calling the box office at 301.405.2787, or online.

See the virtual program here.

COVID Safety: While strongly encouraged, masks are no longer required. See the Clarice Smith Performing Arts Center Health & Safety policy here.

CAST
Actor 1: Emma Callagy; Actor 2: Kayla Harvey-Ali; Actor 3: Nina Omatsola; Actor 4: Amelia (Lee) Talbot; Actor 5: Lucy Bond; Actor 6: Hayden Polsky and Elyon Topolsky; Exhibit Director: Hayden Polsky and Elyon Topolsky; Actor 7: Kiefer Cure; Actor 8: Mars Burggraf; Actor 9: William Nash; Actor 10: Terence Ngwafo
Understudies: Actor 1: Lauren Curtiss; Actor 2-Juliana Vendetti; Actor 3: Elizabeth Enworom; Actor 4: Amelia Du Bois; Actor 5: Sophia Bagheri; Actor 7: Jordan Li; Actor 8: Sophia Patzowski; Actor 9: Keegan Perry; Actor 10: Thomas Raf

CREATIVE TEAM
Director: KenYatta Rogers; Dramaturg: Patrick Saunders; Choreographer: bree breeden; Intimacy Director: Sierra Young; Stage Manager: Adam Hawley; Scenic Designer: August Henney; Costume Designer: Bailey Hammett; Lighting Designer: Scott Monnin; Projection Designer: Tim Kelly; Sound Designer: Leo Grierson
Assistant Director: AJ Jenkins; Assistant Director: Faith McCullough; Assistant Choreographer: Katie Quinn; Assistant Dramaturg: Hudson White; Assistant Stage Manager, Props: Amberley Kuo; Assistant Stage Manager, Costumes: Erin Sanders; Assistant Costume Designer: Ilana Mongilio; Assistant Lighting Designer: Mariah Faulkner

PRODUCTION
Assistant Director of Production and Operations: Jennifer Schwartz Production and Operations Coordinator: Devin Kohn; Production and Events Coordinator: Kate Wander
Technical Director: Michael Driggers; Technical Coordinators: Mike Delaney, David Phelps; Scene Shop Coordinator: Reuven Goren; Lead Carpenter: Earl Browne Carpenters: Hannah Belman, Ella Gammel, Danielle Juaregui, Maura Martin, Terence Ngwafor, Lurr Ragen, Harsh Senjaliya, and Sophia Tiedt; Carpenter Graduate Students: Amir Mahdavi and David Wilson; Student Carpenters: Hannah Collins
Scenic Charge Coordinator: Ann Chismar; Scenic Charge Painter: Fred Via; Scenic Artist: Nicole Panebianco; Student Scenic Artists: Mars Burggraf, Kayla Harvey-Ali, Layla Nordrum, and Hudson White
Prop Shop Manager: Timothy Jones; Prop Shop Artisan: Tyra Bell; Prop Shop Student Artisans: Nikhil Bonageri, Adam Hawley, Chris Lee, Charlotte “C” Macko, and Devni Shah; TDPS479 Students: Gabriella Loshin and Briana Bryant
Stage Crew Leads: Steven Bronocco, Alexix Hayes, Cole Owens
Technology Shop Manager: Jeffrey Reckeweg
Lighting Coordinator: Carrie Barton; Lighting Supervisor: Cameron Smith; Assistant Lighting Supervisor: Liza Raney; Lead Electricians: Buruk Daniel, Emily Pan, Hanna Zakharenko, Jasmine Voon, Malory Hartman, Max Abramovitz, and Sean Preston; Student Electricians: Alana Isaac, Amelia Talbot, Ananya Perinkulam, Balakrishna Nair Nalivalapil, Drew Okoye, Elyon Topolosky, Erin Sanders, Hannah Kelly, Harshil Patel, J. Royal Miller, Jaswant Vemulapalli, Jaylyn Manu, Jeffrey Beamer, Johnny Kraft, Kiefer Cure, Kyle Gunter, Melissa Szwed, Sonia Thanicatt, Tejas Uttarwar, Vivian Castrillo, William Zhao, and Yannick Godts
Projections Coordinator: Zachary Rupp
Assistant Manager of Audio: James O’Connell; Audio Supervisor: Phoenix Sweeney; Audio Technicians: Evan Thanicatt, Jake Goldstein, and Mark Lyons Student; Audio Crew: Jack Campbell and Kiefer Cure
Costume Shop Manager: Jen Daszczyszak; Assistant Costume Shop Manager and Crafts: Lisa Burgess; Costume Tailor and Draper: Tessa Lew; Costume Drapers: MJ Hromek and Steven Simon; First Hand: Dennis Kitmore; Costume Graduate Assistant: Bailey Bower and Addison Littlefield; Costume Technicians: Brooke Baney, Rachel Heney, Ilana Mongilio, and Layla Nordrum; Costume Student Crew: Nina Omatsola, Morgan Smiley, Emma Meisel, Silmarian Grinath, Keegan Perry, and Kaisha Snowden
Wardrobe Crew Head: Seana Benz; Light Board Operator: Matthew Dietrich; Projection Board Operator: Kathleen Connolly; Sound Board Operator: Terrence Bartlebaug; Dressers: Rebeccah Chambers, Alex Reyes, and Emily Davis; Deck Crew: Jabari Crenshaw and Tito Silva; Wardrobe Support: Nicole Hiemenz

The post Ovid’s ‘Metamophoses’ at University of Maryland is a true piece of art appeared first on DC Theater Arts.