By Neal Learner
What is the American Dream? Why does it remain out of reach for so many? What can we do about it? These questions lie at the heart of Bethesda Little Theatre’s (BLT’s) powerful new musical revue, American Dream Deferred. Answers to these questions and more are explored through a selection of 30 songs spanning genres such as Broadway, movies, protest music, and choral works.
The show is the brainchild of director Brett Jordan, who says working on American Dream Deferred combines her three passions: musical theater, American history, and social justice. “America is a work in progress, as it always has been,” she states in the program.
The program opens on an optimistic note with “I Lift My Lamp,” a choral work that brings to life the words of promise, opportunity, and belonging that are engraved on the Statue of Liberty. This number also showcases the impressive vocal talents of the 18-member ensemble, complete with soaring harmonies and choreography that land as effectively as any well-established show choir I’ve heard.
American Dream Deferred then moves onto a series of solo and small-ensemble pieces that reflect our complex, frustrating, joyous, angry, and ultimately hopeful views of the ongoing American experiment.
The first of these is “The Egg” (from the musical 1776), sung with great humor by Kieth Flores, Aref Dajani, and Arthur Glover, who play Founding Fathers reflecting on the momentous birth of the United States while complaining about the sticky heat of Philadelphia in July. This is followed by a powerful rendition of “The Impossible Dream” (Man of La Mancha), sung by barrel-voiced baritone Martin Bestimt, a long-time BLT performer.
Stand-out performances include “Somewhere That’s Green” (Little Shop of Horrors), sung with sweet innocence and charm by Alicia Braxton. And the quietly moving duet “Wheels of a Dream” (Ragtime), again with Braxton, who is joined by charismatic, big- voiced Jonathan Greene as her husband. The two imagine a future at the start of the 20th century where their baby can grow up to experience equality and opportunity in the burgeoning country.
The mood is soon lightened by a rousing version of “Boogie Woogie Bugle Boy,” sung with great 1940s aplomb and pitch-perfect spirit by Liz Masi, Abigail Mitchell, and Sarah Hall.
The thought-provoking “Isle of Hope,” performed in a storytelling fashion by Karen Flynn, captures the fears and hopes of a young Irish girl who was one of millions to pass through Ellis Island on her way to becoming an American in the early 20th century.
The humorous ensemble number,“There Are No Cats in America” (An American Tail), featuring Harry Davis, Chrissy Barnett Miller, and Liz Masi, playfully but poignantly points out that the American Dream, realistic or not — “streets paved with cheese” — exerted a powerful pull on millions of people throughout the world.
Kieth Flores’ heartfelt interpretation of “Inútil” (In the Heights) touched the audience as he explored the sacrifices many immigrants make in their pursuit of the American Dream. Another song of sacrifice, “I’d Give My Life for You” (Miss Saigon), performed with Broadway zeal by Kelly Dobkins, showed yet another side of our immigrant story.
Other standout performances included BLT veteran Eric Yeh’s take on “Santa Fe” (Newsies), which captured the essence of a newsboy dreaming of escaping poverty and creating a life of self-determination. Arthur Glover turned in a jazzy, truth-telling version of “Straighten Up and Fly Right,” and Brett Jordan gave voice to the millions who keep fighting for social progress in “Back to Before” (Ragtime).
Act I ends with a toe-tapping ensemble version of “America” (West Side Story), complete with energetic, Latin-inspired choreography. Kudos to choreographers Lauren Emanuel and Karen Flynn, who created this and many other stylistic and memorable moments throughout the show.
Act II starts with another showstopping ensemble number, “9 to 5” (9 to 5), featuring solos by Cathy McCoskey, Abigail Mitchell, and Eric Yeh.
What followed were a series of protest songs, including a powerful version of “Speechless” (Aladdin) sung with intensity by BLT veteran Cathy McCoskey. And the haunting a cappella song “Bread and Roses” and “Keep Marching” (Suffs), featuring a small ensemble. An authentic acoustic-guitar version of “This Land Is Your Land” featured Harry Davis, Sarah Hall, and Arthur Glover, with guitar accompaniment by Aref Dajani.
Other standout performances included Sally Ann Flores’ passionate rendition of “Paciencia y Fe” (In the Heights), capturing the perseverance and hope that many in the immigrant community hold. And the duet “Stronger Than Before” (Allegiance), sung beautifully by Cathy McCoskey and BLT newcomer Alexis Ross, examines resilience and identity during the internment of Japanese Americans in World War II.
The show moves briskly along, with a great variety of music and messages. Standout moments for me were the full ensemble numbers, especially “Hope Lingers On,” sung a cappella to showcase the exquisite voices and power of the cast. And the finale, “You Can’t Stop the Beat” (Hairspray), was another rousing showstopper that brought the audience to its feet.
The pit orchestra, consisting of pianist Arielle Bayer, bassist Joshua Wolfe, and percussionist Jane Creagan, led by music director Leslie Blaha, was tight and effective. The set, consisting of four large panels depicting iconic images of America, was created by Lynne Wagner and reflected the essence of the show. She also served as lighting director and stage manager, and was accompanied by her husband, Grant Wagner, as assistant stage manager.
American Dream Deferred ended with an audience sing-along of “America the Beautiful,” an incredibly touching song that captures the majesty of our beautiful country, and should be our national anthem.
In these difficult and divided times, this show hits the perfect notes.
Running Time: Just over two hours, including a 15-minute intermission.
American Dream Deferred plays June 12 and 13, 2026, at 8 pm and June 14 at 2:30 pm, presented by Bethesda Little Theatre, performing at Montgomery College Cultural Arts Center Theater 2, 7995 Georgia Ave, Silver Spring, MD. Purchase tickets ($28, adult; $22, student, senior, military; $18, children 12 and under) online.
SEE ALSO:
New musical revue ‘American Dream Deferred’ speaks truth to power (advance feature by director Brett Jordan, May 22, 2026)
Neal Learner is a singer, songwriter, composer, and musical theater creator. His shows have been produced throughout the Washington, DC, area, including a 2025 production of French Cupcakes at Bethesda Little Theatre (BLT); a 2023 production of TREES at BLT; a 2022 production of Get Me Home at the Athenaeum in Alexandria, VA; a 2019 production of Soul Redeemer at Capital Fringe; and a 2017 production of Life: A Comic Opera at Capital Fringe. Learn more at learnermusic.com.
