DC Theater Arts

Author: Lucille Rieke

  • Joy, love, and hilarity abound in ‘Head Over Heels’ at Constellation Theatre

    Joy, love, and hilarity abound in ‘Head Over Heels’ at Constellation Theatre

    A “black box of possibility” is what Founding Artistic Director Allison Arkell Stockman called Constellation Theatre Company’s longtime home, the Source Theatre on 14th Street. Unfortunately, due to CulturalDC’s sale of the Source, Head Over Heels will be Constellation’s last show in this venue. But what better show to dabble in the theme of possibility than Head Over Heels, a rock musical with music by the Go-Go’s and a storyline straight out of Shakespeare, but not quite?

    Head Over Heels takes place in Arcadia, a fictional kingdom somewhere in Greece, famous for its Beat. Arcadia is ruled by King Basilius and Queen Gynecia, who have two daughters, the beautiful Pamela and the plain Philoclea. The King and Queen have been trying to marry off Pamela for five years, but no suitor has matched her expectations of excellence. Whereas unsuspecting Philoclea has already found love in her unfortunately low-status childhood friend and shepherd boy, Musidorus. Word reaches the King that Arcadia is in grave danger, and so he and his viceroy, Dametas, depart for the forest where they encounter an oracle, Pythio, who is neither he nor she but they. Pythio reveals four prophecies about the royal family that, once fulfilled, will cause Arcadia to lose the Beat. These prophecies serve as the plot’s driving force; as each one is fulfilled, the Beat is in further peril. Basilius and Dametas flee home and herd the royal family (plus Mopsa, Pamela’s lady maid) to Bohemia, hoping to escape the prophecies. Will they find a way to fix what’s been broken in Arcadia, or will the Beat be gone forever? You’ll have to head to Constellation Theatre Company to find out.

    The Company of ‘Head Over Heels’ (front row: Caroline Graham, Rebecca Ballinger, and Cristen Young). Photo by DJ Corey Photography.

    The production, directed by Stockman herself, leans into the pure joy of this musical. The addictive rhythm of the rock music is complemented by the hilarity that masquerades throughout and the pure love emitted into the air. A romantically and musically inspiring, feel-good experience, the show provides a much-needed dose of joy and laughter.

    The music by the Go-Go’s, which is in many ways the anchor of the show, booms through the small theater from a pit of excellent musicians, led by Music Director Bobby McCoy, and enriched by the vocal prowess of the cast. The show opens with the hit “We Got the Beat” as the actors come on stage in dazzling costumes (costume design by Frank Labovitz), dancing to the Beat (dynamic and sharp choreography by Maurice Johnson), and singing their hearts out.

    The space (as Stockman said, “full of possibility”) is transformed into a fairytale-like castle of ivy and stones, with two balconies put to good use and a hidden tunnel from which the actors occasionally emerge. Samuel Klaas’ scenic design not only allows the show to fluctuate between all the locations without any extraneous set changes but also immerses the audience in the world of Arcadia.

    TOP LEFT: Ariana Caldwell (Philoclea) and Julia Link (Pamela); TOP RIGHT: Nico Ochoa (Pythio); ABOVE LEFT: Fran Tapia (Gynecia); ABOVE RIGHT: Stephen Russell Murray (Dametas) and Harrison Smith (Musidorus), in ‘Head Over Heels.’ Photos by DJ Corey Photography.

    The show featured a small cast of principal characters and an ensemble of three. But these three ensemble members (Jordan Essex, Caroline Graham, and Cristen Young) played all the roles in the production not performed by the principals, bringing Johnson’s choreography to life and immediately turning around to become a chorus of sheep (with hooves and hats) in “Mad About You.”

    Julia Link’s Pamela was magnetic in her unwavering confidence and belted her face off with elegance in all her songs (especially “Beautiful” and “How Much More”). Basilius and Gynecia were an unmatched duo, with Oscar Salvador Jr.’s powerful and relaxed presence contrasted by Fran Tapia’s crazed, loving, and sensual queenliness. Stephen Russel Murray was ever alarmed and endlessly endearing as Dametas (what a joy when he finally sings in “Mad About You Reprise”).

    Harrison Smith (Musidorus) in front, with Cristen Young, Caroline Graham, and Jordan Essex (Ensemble) in ‘Head Over Heels.’ Photo by DJ Corey Photography.

    While there are many superb songs in the musical, “Automatic Rainy Day” — when Mopsa, Pamela’s lady’s maid (an innocent and lovestruck Rebecca Ballinger), and Pamela discover their love for each other — is full of rage, lust, and possibility.

    “A Vision of Nowness” featured Nico Ochoa as commanding, serpentine, and sassy Pythio, supported by a chorus of slithering (and singing) snakes (puppet design by Matthew Pauli).

    “Our Lips Were Sealed,” the Act I finisher, at which point two of the four prophecies were fulfilled, featured the two new couples: Musidorus (with constant amazement in Harrison Smith’s hands) and Philoclea (Ariana Caldwell, subtle and feeling), and Mopsa and Pamela.

    In a show that lives in both heightened language and rock music it is easy to get lost in the fantastical, comedic nature of it all, but one of the final numbers, “Here You Are,” showed the deeper roots that grew beneath each character, a song where the production came off the pedestal of fairytale and landed down into the heart, leaving most of the cast in tears and most of the audience enraptured.

    This production of Head Over Heels is not just a celebration of love but a jubilant ode to love in all its various forms. As Constellation closes its chapter at Source, this show leaves its mark on the building and the wider community by choosing love and joy over and over again.

    Running Time: Two hours and 10 minutes, with one 15-minute intermission.

    Head Over Heels plays through June 1, 2025, presented by Constellation Theatre Company, performing at Source Theatre, 1835 14th Street NW, Washington, DC (near the corner of 14th and T). Tickets range from $24–$63 and are available by calling the box office at 202-204-7741 or going online.

    The Head Over Heels playbill is online here.

    The run will include Head Over Heels Cosmic Events:

    MAY 9, 7:00 PM: Zillenial Night; Pre-show Reception for Millennial and Gen Z patrons
    MAY 11, 18, and 25: Epic Exchanges; free Post-Show Talkbacks
    MAY 15, 8:00 PM: ASL Interpreted Performance
    MAY 23, 8:00 PM: BLACKOUT NIGHT; an affinity night welcoming Black-identifying audience members
    MAY 22 and 30, 8:00 PM: Pride Night; featuring guest drag artists and discounted drink at Trade Bar after the show

    Masking optional for all performances except for Saturday matinees when they are required. Masks will be available at the theatre for all performances.

    Head Over Heels

    CAST
    Mopsa: Rebecca Ballinger
    Philoclea: Ariana Caldwell
    Ensemble: Jordan Essex
    Ensemble: Caroline Graham
    Pamela: Julia Link
    Dametas: Stephen Russell Murray (Fight and Dance Captain)
    Pythio: Nico Ochoa
    Basilius: Oscar Salvador, Jr.
    Musidorus: Harrison Smith
    Gynecia: Fran Tapia.
    Ensemble: Cristen Young
    US Pythio: Jayson R. Broadnax
    US Pamela / US Gynecia: Lily Burka
    US Basilius / US Ensemble: James B. Mernin
    US Philoclea / US Ensemble: Valerie Nagel
    US Musidorus/ US Dametas: Jack Taylor
    US Mopsa / US Ensemble: Ava Wilson

    CREATIVE TEAM
    Songs by: The Go-Go’s
    Based on The Arcadia by: Sir Philip Sidney
    Conceived and Original Book by: Jeff Whitty
    Adapted by: James Magruder
    Director: Allison Arkell Stockman
    Music Director: Walter “Bobby” McCoy
    Choreographer: Maurice Johnson
    Scenic Designer: Samuel Klaas
    Costume Designer: Frank Labovitz
    Lighting Designer: E-hui
    Sound Designer: Kevin Lee Alexander^
    Props Designer: Chelsea Dean
    Puppet Designer: Matthew Pauli
    Fight & Intimacy Director: Sierra Young
    Production Stage Manager: Tori Schuchmann
    Associate Director: Aria Velz
    Associate Music Director: Stella Monshaw
    Assistant Choreographer: Janine Baumgardner

    PRODUCTION TEAM
    Technical Director: Chris Stoutjesdyk
    Assistant Production Manager: Casey Parker
    Assistant Stage Manager: Hansin Arvind
    Assistant Stage Manager: Sophia Menconi
    Assistant Costume Designer: Bailey Hammett-Colwell
    Lighting Assistant: Jasper Weymouth
    Wardrobe: Rukiya Henry-Fields
    Head Carpenter: Spencer Munshi
    Scenic Charge Artist: Yaritza Pacheco
    Head Electrician: Dazinsky Muscadin
    Light Board Programmer: Cody Whitfield
    Light Board Operator: Maddie Southard
    Audio Engineer: Garrett Parker
    A1/ Audio Mixer: Zak Starry
    A2 / Audio Assistant: Alyssa Foy

    SEE ALSO:
    Constellation Theatre Company announces final production at Source Theatre (news story, May 6, 2025)
    Constellation Theatre announces cast and creatives for ‘Head Over Heels’ (news story, March 27, 2025)

  • A lively and compassionate ‘Charlotte’s Web’ comes to life at Adventure Theatre

    A lively and compassionate ‘Charlotte’s Web’ comes to life at Adventure Theatre

    Charlotte’s Web, by E.B. White, is a staple story in every childhood bookshelf and, more importantly, many young kids’ first encounter with death. The play, adapted by Joseph Robinette, winner of the Charlotte B. Chorpenning Playwright Award, exists in the repertoire of children’s theater in the same way as its picture book counterpart. A lively, compassionate, and connective show that left the audience of children almost entirely silent. In any other theater-for-young-audiences show, this might indicate that they didn’t understand, but in this production, it was a sign that they were really listening. The children leaned forward in their seats as they watched this familiar 2D story come to life before their eyes. The essential importance of Theater for Young Audiences is exemplified by Adventure Theatre MTC’s Charlotte’s Web.

    Charlotte’s Web is about making friends in unfamiliar places and with unfamiliar faces. On the Arables’ farm, the runt of a litter of pigs is about to be killed before Fern, the daughter, pleads with her father to spare the pig. Fern names the pig Wilbur and helps him grow strong and healthy. But with this health and strength comes a toll; Wilbur is now eating more than the Arable family can provide, so he gets moved to Uncle Homer’s farm, where there are more resources to care for this newly fattened pig. In his new home, though scared, Wilbur makes several animal friends: Templeton, a blinged-out rat, two worldly geese, an aging sheep, and a spider, Charlotte. However, even in his new home, another obstacle arises; now that Wilbur is grown, he is prime material for bacon and ham. He is being fattened and readied for his future as a piece of meat on a dinner plate. As this reality crashes down on Wilbur and his companions, Charlotte, our unsuspecting hero, steps (or rather spins) in to try to save Wilbur’s life.

    Jordan Leah Embrack (Fern), Deimoni Brewington (Wilbur), Irene Hamilton (Charlotte), Bianca Lipford (Narrator), and RJ Pavel (Homer) in ‘Charlotte’s Web.’ Photo by Alan Kayanan.

    A play built on the strong foundation of a fantastic children’s story, the production is brought to life under the direction of Clancey Yovanovich, whose vision streamlines the tale in its new three-dimensional capacity. The design elements work together to land the audience in both location and mood, while the direction uplifts the humanity and desire for belonging ingrained in the text. Each animal is humanized, with animalistic qualities in costume and affectation balanced with distinct human personalities.

    Megan Holden’s set design makes the audience feel like they are in the dusty, allergy-ridden barn that Wilbur calls home. The physical barriers Yovanovich and Holden utilized solved the complication presented by depicting the scale of a pig and a spider in the same space, played by humans of similar sizes. The two-story barn places Charlotte above and Wilbur below, neither able to transcend the barrier of their physical realities, forcing their connection to exist at a distance, a contrast to the close, tactile relationship of all the other characters.

    The costume design by Paris Francesca was exquisite. Charlotte donned a black widow look with a corset, skirt, heeled boots, and scarf. The geese were exactly what one would expect a goose-turned-human to wear: stripes, oranges and yellows, and a straw hat. Wilbur was decked out in pink overalls and, at times, a matching bowtie, and Templeton was in a leather jacket with loud silver chains, combat boots, and a fedora.

    The production is further bolstered by an expert cast of TYA veterans. Deimoni Brewington is simply delightful as Wilbur, animated and joyous while grounded and honest. Irene Hamilton is spellbinding, meticulous, and effortlessly kind as the titular character, Charlotte. Dylan Toms is hilarious, sassy, and captivating as Templeton. Jordan Leah Embrack gives Fern a lovely girlishness matched with fervor as she teaches us to love Wilbur. As Narrator, Bianca Lipford guides us through the unstaged parts of the story with care and poise. RJ Pavel is an enlivened Homer but most intriguing as the old, wise, and stubborn sheep.

    LEFT: Irene Hamilton as Charlotte and Dylan Toms as Templeton; RIGHT: Irene Hamilton as Charlotte and Deimoni Brewington as Wilbur, in ‘Charlotte’s Web.’ Photos by Alan Kayanan.

    As Adventure Theatre MTC prepares to celebrate its 75th anniversary in 2026, it is clear this company prioritizes art that celebrates, encourages, and inspires the next generation of artists. However, don’t let the theater-for-young-audiences classification deter you. Charlotte’s Web is a play for everyone, with messages that hit home regardless of age and a heartbreaking yet beautiful last few scenes felt deeply by all in attendance.

    Unerringly truthful, passionately funny, and steeped in love, this show is a must-see for audiences of all ages. In these complicated times, it reminds us of our humanity and need for connection. And, of course, supporting the arts is always a step in the right direction.

    Running Time: Approximately 55 minutes with no intermission.

    Charlotte’s Web plays through May 25, 2025, at Adventure Theatre MTC (ATMTC), 7300 MacArthur Blvd, Glen Echo, MD. Purchase tickets ($25, with birthday party, group, and field trip rates available) online or by calling the box office at 301-634-2270.

    Charlotte’s Web is recommended for ages 4 and up.

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

    Charlotte’s Web
    Based on the book by E.B. White
    Adapted by Joseph Robinette
    Recipient of the Charlotte B. Chorpenning Playwright Award

    CAST
    Fern: Jordan Leah Embrack
    Charlotte: Irene Hamilton
    Wilbur (before 5/7): Deimoni Brewington
    Wilbur (5/7 et seq.): Jordan Brown
    Templeton: Dylan Toms
    Homer: RJ Pavel
    Narrator: Bianca Lipford
    Understudy Wilbur, Templeton, Homer: Seth Drenning
    Understudy Fern, Charlotte, Narrator: Natalia Fyfe

    CREATIVE TEAM
    Directed by Clancey Yovanovich
    Set Designer: Megan Holden
    Lighting Designer: Lynn Joslin
    Costume Designer: Paris Francesca
    Sound Designer: Kenny Neal
    Resident Properties Designer: Andrea “Dre” Moore
    Director of Production: Michael R. Burgtorf
    Production Manager: Dom Ocampo
    Technical Director: Jax Pendland
    Stage Manager: Shannon Saulnier
    Assistant Stage Manager: Lorna Ryan
    Lead Electrician: Jimmy Engelkemier
    Electricians: Alex Kozlov, Shana Franklin, Patrick Carter, Jasmine Gibbs, Lauren Meek
    Scenic Charge: Dom Ocampo
    Scenic Artist: Mrinali Thanwani
    Carpenters: Brian Klose, Nico von Friedeburg, Benjamin Campion, George Burgtorf

  • An inept monster and scaredy-cat kids delight in ‘Leonardo!’ at Kennedy Center

    An inept monster and scaredy-cat kids delight in ‘Leonardo!’ at Kennedy Center

    Leonardo! is, in fact, a wonderful show about a terrible monster — that is, not a terrible monster, but a monster terrible at being a monster. In reality, Leonardo is a fuzzy green puppet with two not-so-scary teeth, big, kind eyes, and a friendly hand that loves to high-five. Adorably cute and impossibly silly, Leonardo fails to scare everyone in his life, including the 5- to 10-year-old audience that filled The Kennedy Center’s Family Theater. Every time Leonardo made his “scary” face or “scary” sound or “scary” gesture, he was met not with shrieks but with a ripple of high-pitched giggles.

    This 45-minute theater for young audiences production, based on two books by children’s author Mo Willems, is a tale of finding friends in unlikely places and Leonardo’s journey in accepting that while he may not be a good monster, he is a great friend.

    Puppeteer Lindsey Noel Whiting with Leonardo in ‘Leonardo! A Wonderful Show About a Terrible Monster.’ Photo by Ben Kauffman.

    In the first book, Leonardo, The Terrible Monster, we follow Leonardo as he meets Sam, the most scaredy-cat kid in the whole world. Despite being the most scaredy-cat kid in the whole world, Sam is not scared by Leonardo, and thus Leonardo’s journey as a terrible monster continues, and the pair become friends. The second book, Sam, The Most Scaredy-Cat Kid in the Whole World, follows Sam and Kerry — the second-most scaredy-cat kid in the whole world — as the two most scaredy-cat kids meet each other. Kerry and Sam scare each other much more than any monster ever could. But, with the help of Leonardo and his monster friend Farfenthaler, Kerry and Sam overcome their fears and find friendship in the process.

    These two stories are brought to life with a blend of filming, projection, paper puppets, 3D puppets, narration, and music, all pillars of the company behind Leonardo’s creation, Manual Cinema. Manual Cinema is a Chicago-based performance collective nationally known for its live filming style where scenes are recorded in front of the audience and shown on a large screen center stage. By far, the most intriguing part of both Leonardo! and Manual Cinema is that as the audience sees the final product on the big screen, we can also see how the video is being made.

    The stage is filled with a filming station that has cameras, lights, a green screen, a table full of props, two table projection stations, and a large projection screen. It’s an eclectic, crowded stage, but once the show begins, everything has its purpose.

    The live scenes featuring actors and puppets are filmed upstage center and projected simultaneously downstage center, a set-up that allows the audience to watch the behind-the-scenes and the final product at once. This keeps things interesting for the adults in attendance (balancing hundreds of puppets, props, and onstage locations is quite a feat) and also enjoyable for the kids who watch puppets come to life on the screen.

    Leah Casey, Sarah Fornace, Lily Emerson, and Anney Fresh in ‘Leonardo! A Wonderful Show About a Terrible Monster’ created by Manual Cinema. Photo by Rebecca J Michelson.

    To bring out the picture book style of the show, there is a downstage table projector — a much more updated version of the old-fashioned projectors teachers used to project their work to whiteboards before iPads — where pages of a book are flipped through with paper puppets as the characters, accompanying narration by Lily Emerson.

    Sam (Julia Miller) and Kerry (Leah Casey) are portrayed by actors in hilarious wigs, cartoon-like costumes, and priceless expressions amplified by the big screen, while the monsters are furry puppets puppeteered by Lindsay Noel Whiting (who spearheads as both the puppeteer and voice of Leonardo himself), Miller, Casey, and Emerson.

    A gem of the piece is the musical accompaniment that continues throughout. Though, at times, the pre-recorded music is louder than Emerson’s live accompaniment, overall, it bolsters the piece in its dramatic and sensitive moments with music, lyrics, and sound design by Ben Kauffman and Kyle Vegter.

    Lily Emerson excelled in the many hats she wore throughout the show: narrator, musician, puppeteer, and voice of all characters except Leonardo. She effortlessly switched between different character voices, often in the span of a sentence. Emerson also acted as the kids’ primary point of engagement throughout the show, inviting their participation, support, and enthusiasm with audience questions and her accessible, caring presence.

    Leonardo! filled The Kennedy Center’s Family Theater with the nostalgic, soul-filling sound of children’s giggles and occasionally some ridiculous side comments such as “Who is that!” and “I don’t like him.” The show ends with a resounding message: “Don’t be afraid to make a new friend!” Not only is it educational, but it’s also a joy for adults who want to be reminded of theater’s beauty and the essential importance of theater for young audiences in telling truthful stories, offering life lessons, and bringing joy into the world.

    Running Time: Approximately 45 minutes without intermission.

    Leonardo! A Wonderful Show About a Terrible Monster plays through April 6, 2025, presented by Kennedy Center Theater for Young Audiences in the Family Theater at the Kennedy Center, 2700 F St NW, Washington, DC. Purchase tickets ($25.30, including a $3.30 service charge) in person (the Hall of States Box Office is open Monday – Saturday, 10am – 9pm and Sunday 12pm – 9pm), by calling the box office at (202) 467-4600, or online.

    Best enjoyed by ages 5+
    View the digital program here.
    View the Learning Guide (for educators and students) here.

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

    Leonardo! A Wonderful Show About a Terrible Monster

    CREATIVE TEAM
    Created by Manual Cinema
    Inspired by the Books Leonardo, The Terrible Monster and Sam, The Most Scaredy-Cat Kid in the Whole World by Mo Willems
    Direction: Sarah Fornace
    Adaptation: Sarah Fornace, Drew Dir
    Music, Lyrics & Sound Design: Ben Kauffman and Kyle Vegter
    Storyboards and 2D Puppet Design: Drew Dir
    Hand and Rod Puppet Design: Lizi Breit
    Costume and Wig Design: Mieka Van der Ploeg
    Lighting Design: Trey Brazeal with Nick Chamernik
    Dramaturgy: Megan Alrutz
    Tour Manager and Board Operator: Maydi Díaz
    Devised by Drew Dir, Sarah Fornace and Julia Miller with Leah Casey, Lily Emerson, and Lindsey Noel Whiting

    CAST
    Narrator, Musician, Character Voices: Lily Emerson
    Leonardo Voice and Puppeteer: Lindsey Noel Whiting
    Sam, Puppeteer (3/26-3/31): Julia Miller
    Sam, Puppeteer (3/31-4/7): Karly Gesine Bergmann
    Kerry, Puppeteer: Leah Casey

  • Shock and amusement in Agatha Christie’s ‘Death on the Nile’ at Arena

    Shock and amusement in Agatha Christie’s ‘Death on the Nile’ at Arena

    It’s not often that a burble of laughter dances through the audience when a major character dies onstage in a murder mystery. But on the opening night of Death on the Nile at Arena Stage, that is precisely what happened. A gunshot ricocheted through the theater in a shocking turn of events, followed by a sudden and embarrassed chuckle that spread through the audience.

    Agatha Christie’s Death on the Nile, adapted for the stage by playwright Ken Ludwig (who joined the sold-out opening performance in the Kreeger Theater), follows a group of 11 unlikely traveling companions who set off from Aswan, Egypt,  on a six-day cruise along the Nile River. Somewhere within those six days, an ancient artifact is destroyed, a love affair begins, a marriage is announced, and a passenger is murdered.

    Travis Van Winkle (Simon Doyle) and Olivia Cygan (Linnet Ridgeway) in Agatha Christie’s ‘Death on the Nile.’ Photo by T. Charles Erickson Photography.

    Among the 11 are British Museum archaeologist Atticus Praed and his son (a doctor) Ramses Praed. There are the Otterbournes, romance novelist and aspiring actor Salomé, and her daughter Rosalie. Sir Septimus Troy, a famous and melodramatic actor, is aboard along with Colonel Race, a longtime friend of Hercule Poirot. Annabelle Pennington, a trustee of Linnet Ridgeway (a major donor to the British Museum), joins the cruise at the last minute. And, of course, Hercule Poirot, the renowned Belgian detective, is also on board, hoping for a murder-free vacation, but that is not in the cards.

    Finally, there are Simon Doyle, Jaqueline de Bellefort, and socialite Linnet Ridgeway, who are a love triangle of revenge at the root of this mystery. Simon and Jaqueline open the show on the streets of 1937s London, undoubtedly in love. But when they join the cruise, Jackie is no longer on Simon’s arm; he has married someone else, Linnet. Jackie and Linnet were best friends; Jackie came from no money, and Linnet came from excess. The love triangle complicates as the show unfolds, but revealing more would ruin the suspense.

    Armando Durán (Hercule Poirot) in Agatha Christie’s ‘Death on the Nile.’ Photo by T. Charles Erickson Photography.Armando Durán (Hercule Poirot) in Agatha Christie’s ‘Death on the Nile.’ Photo by T. Charles Erickson Photography.

    The world premiere of Death on the Nile at Arena Stage is a large-scale spectacle of mystery, comedy, and relational drama. Directed and spearheaded by Artistic Director Hana S. Sharif, the show shines with its impressive production design, nuanced performances by accomplished actors, and suspenseful plot from Christie buoyed by Ludwig’s writing.

    Arena’s production features an elaborate set designed by Alexander Dodge that brings the actors and audiences onto the cruise. The set transforms from the bow of a ship (with a railing for characters to attempt jumping overboard) into an Ancient Egyptian monumentt; the scale of the design is remarkable.

    Kenneth Posner’s lighting design creates the necessary environment for the play as the scenes shift in time of day and location, mooring the audience throughout the many changes. Karen Perry’s costume design enhances each character’s unique personality while also portraying the reality of the period with fabulous gold-bedazzled dresses, velvet suit jackets, elaborate headpieces, and a plethora of costume changes.

    Eric Hissom (Septimus Troy), Nancy Robinette (Salomé Otterbourne), Sumié Yotsukura (Rosalie Otterbourne), Katie Kleiger (Jacqueline de Bellefort), Armando Durán (Hercule Poirot), Felicia Curry (Annabelle Pennington), and Jamil A.C. Mangan (Colonel Race) in Agatha Christie’s ‘Death on the Nile.’ Photo by T. Charles Erickson Photography.

    Original music and sound design by Charles Coes and Nathan A. Roberts elevate the ambiance and center the audience in 1937 London and then Egypt. The music deftly creates suspense, which is essential in this murder mystery brought to life on stage. The music allows the stage play to have a feel similar to a movie, with the added enjoyment of having a live, reacting audience.

    The actors give exceptionally specific and individual performances, bringing each of their very different characters to life. Katie Kleiger plays Jackie de Bellefort with enticing charm and ominous mystery. In Olivia Cygan’s expert hands, Linnet Ridgeway is heightened to her most glamorous and paranoid self, allowing the audience to both sympathize with and distrust Miss Ridgeway.

    Nancy Robinette brings endless charisma and personality to Salomé Otterbourne, giving the audience unending laughter and astonishment. Robinette honors Salomé’s eccentricities with expertise and truth. Felicia Curry gives the smaller role of Annabelle Pennington all the importance in the world. She has a striking ability to command the stage with her delightful and eye-catching presence.

    Holding the whole cast together is Armando Durán, who has the very complicated task of portraying the iconic Poirot and does so with grace, meticulousness, and individuality. Durán offers audience members his version of Poirot while still paying respect to the many Poirots who have come before. Durán observes every relationship with the watchful eye of an owl, and the audience is able to see him mapping the spiderweb of complications within this group.

    This hefty show excels under Sharif’s direction as she makes her Arena directorial debut. She directs with acute attention to detail, which is essential for a production this size. From the acting to the lighting, everything fits into the calculated world of this murder mystery.

    It’s not easy to adapt such an iconic book, now a commercially successful movie, for the stage, which has certain limitations that books and films don’t. While sometimes excessive set changes take away from the flow, overall this adaptation is well suited for the Kreeger.

    The added intimacy created by the presence of a live audience makes the show enjoyable while still suspenseful. As the characters discover, love, fight, and murder, the audience gasps alongside them. It’s a welcome distraction, an evening of amusement and shock: Death on the Nile is a thrilling and entertaining world premiere.

    Running Time: Two hours and 25 minutes with one intermission.

    Agatha Christie’s Death on the Nile plays through December 29, 2024, in the Kreeger Theater at Arena Stage, 1101 6th Street SW, Washington, DC. Tickets ($59–$179) may be obtained online, by phone at 202-488-3300, or in person at the Sales Office (Tuesday-Sunday, 12-8 p.m.). Arena Stage offers savings programs including “pay your age” tickets for those aged 35 and under, student discounts, and “Southwest Nights” for those living and working in the District’s Southwest neighborhood. To learn more, visit arenastage.org/savings-programs.

    The program for Death on the Nile is downloadable here.

    COVID Safety: Arena Stage recommends but does not require that patrons wear facial masks in theaters except in designated mask-required performances (Tuesday, December 17, at 7:30 p.m. and Saturday, December 28, at 2 p.m.). For up-to-date information, visit arenastage.org/safety.

    Agatha Christie’s Death on the Nile
    Adapted for the stage by Ken Ludwig
    Directed by Hana S. Sharif

    CREATIVE TEAM
    Set Designer: Alexander Dodge
    Costume Designer: Karen Perry
    Lighting Designer: Kenneth Posner
    Original Music and Sound Design: Charles Coes and Nathan A. Roberts
    Project Designer: Brittany Bland
    Hair and Wig Designer: LaShawn Melton
    Fight Director: Sordelet Inc – Rick Sordelet
    Dialect and Vocal Coach: Lisa Nathans
    Dramaturg: Otis Ramsey-Zöe
    New York Casting: Caparelliotis Casting, David Caparelliotis and Joseph Gery
    DC Casting: Raiyon Hunter
    Creative Associate: Ashley D. Polasek
    Stage Manager: Christi B. Spann
    Assistant Stage Manager: Dayne Sundman

    CAST
    Annabelle Pennington: Felicia Curry
    Linnet Ridgeway: Olivia Cygan
    Hercule Poirot: Armando Durán
    Septimus Troy: Eric Hissom
    Jacqueline de Bellefort: Katie Kleiger
    Colonel Race: Jamil A.C. Mangan
    Ramses Praed: Ryan Michael Neely
    Salomé Otterbourne: Nancy Robinette
    Atticus Praed: Robert Standon
    Simon Doyle: Travis Van Winkle
    Rosalie Otterbourne: Sumié Yotsukura

    Understudies
    For Ramses Praed, Simon Doyle: Brandon Haagenson
    For Linnet Ridgeway, Jacqueline de Bellefort, Rosalie Otterbourne: Lilli Hokama
    For Hercule Poirot, Septimus Troy, Colonel Race, Atticus Praed: Keith Richards
    For Salomé Otterbourne, Annabelle Pennington: Erika Rose

    Extras
    Sam Fromkin, Kira Gandolfo, Daniel Maseda

    PRODUCTION
    Associate Projection Designer: Zavier Taylor
    Assistant Director: Jaida Gillespie
    Assistant Set Designer: Clayton Dombach
    Projections Programmers: Tiffany Chen, Jerran Kowalski
    Intimacy Consultant: Sordelet Inc. And Victoria Vourkoutiotis
    Movement Consultant: DeMoya Watson Brown
    Magic Consultant: Ryan Phillips
    Production Assistant: Kyla S. Mermejo-Varga
    Stage Supervisor: Hannah Martin
    Deck Carpenter: Courtney Naughton
    Props Technicians: Luís Ramon Córdovez, Erica Feidelseit
    Light Board Operator: Kelsey Swanson
    Lighting Assistant: Christian Henrriquez
    Audio Engineer: Liv Farley
    Second Audio: Emily Pan
    Wardrobe Supervisor: Alice Hawfield
    Wardrobe: Lillian Hall, Caitlin O’Brien
    Wigs, Hair And Makeup Supervisor: Jaime Bagley
    Crew Swings: Trevor Comeau, Madalyn Oliver

  • A fun and inspiring ‘Freaky Friday’ at Catholic University

    A fun and inspiring ‘Freaky Friday’ at Catholic University

    There has been a lot of buzz recently about the Freaky Friday sequel in the works, Freakier Friday, but little do you know there is also a musical production of the hit 2003 Disney movie, and it’s playing right now at Catholic University!

    The musical, adapted from the movie of the same name, maintains the overall feel of Freaky Friday as we know it from Jamie Lee Curtis and Lindsay Lohan while adding some beautifully nuanced musical numbers to further the storyline.

    Scene from ‘Freaky Friday.’ Photo by Patrick Ryan.

    Freaky Friday revolves around a mother, Katherine, and her teenage daughter, Ellie, as they battle to be understood by one another. Katherine is getting married the following day to her fiancé, Mike, whom Ellie resents. Ellie is trying to navigate the trials and tribulations of high school while dealing with her pestering younger brother, Fletcher. In the midst of one of Katherine and Ellie’s fights, they break a magical hourglass given to Ellie by her late father. Upon breaking it, Katherine and Ellie switch bodies. In order to return to their normal selves before the wedding, they must find the identical magical hourglass gifted to Katherine that she sold to a pawn shop.

    The musical follows the pair on this “freaky” Friday where they are stuck in each other’s bodies, Ellie’s teenage mind trapped in her mother’s aging body, and Katherine’s adult mind forced to live another day of high school. Throughout the madness of a mother showing up to high school and her daughter trying to plan a wedding, we encounter Ellie’s friends, enemies, and crushes and meet Katherine’s wedding planners, caterers, and interviewers.

    The music by Tom Kitt and lyrics by Brian Yorkey brings the characters’ struggles to life in a way the book by Bridget Carpenter couldn’t quite accomplish. Stella Monshaw invigorates Kitt and Yorkey’s music through her music direction; the actors shine in many beautifully sung solo numbers, such as “Busted” and “Parents Lie,” and the orchestra keeps the show’s rhythm and pop alive.

    Scene from ‘Freaky Friday.’ Photos by Patrick Ryan.

    Under the expert direction of Kathryn Chase Bryer, the cast of 23 delivered a full, passionate performance of a complex storyline, making it easy to follow and enjoyable to watch. The ensemble, from the adults to the teens, was focused and engaged, diving deep into their roles and helping to create the ecosystems that Katherine and Ellie each exist in

    Nikki Mirza’s choreography stood out, particularly in the energized and meticulous number “Oh Biology.” This hilarious number takes place while Ellie and her classmates dissect frogs, which then very cleverly become part of the dance. Savannah (the mean girl in school) and her army of minions exemplified Mirza’s choreography and leveraged their strong dancing as a power move over Ellie.

    The simple set and bare stage allowed the various locations the show takes place throughout to be seamlessly rearranged with movable kitchen counters that flipped to become lockers when rotating between Katherine and Ellie’s lives.

    Among many memorable performances by the students at Catholic University, Katie Vitale brought a present, determined performance as Katherine, deftly fluctuating between her role as Katherine and her role as Ellie in Katherine’s body. Her voice was rich and captivating and contrasted beautifully with Erin Fitzgerald, who played Ellie. Fitzgerald had gorgeous vocal tone and gave a fierce performance as Ellie, revealing a more nuanced character than just the angry teenager she is written to be.

    Madonnina Gullo played Savannah with prowess and commanded the stage in every scene. Ethan Turbyfill (Adam) had an angelic voice that reached every audience member, especially notable in the song “Go.” Lauren Rafoth (Fletcher) was a consistent charmer and truthful comedian. She beautifully portrayed an annoying little brother while still showing his lovable qualities.

    In one of the most heartwarming moments of the show, Fletcher sleeps on Katherine’s lap while she sings “After All of This and Everything,” a showstopping song beautifully sung by Vitale and aided by Rafoth’s adorableness as Fletcher.

    A show that balances all the classic musical theater elements at once, Freaky Friday is a whirlwind of dance, music, comedy, family drama, and strong acting. It’s a fun time and inspiring to watch these actors shine under the Hartke Theatre lights.

    Running Time: Approximately two and a half hours including one intermission.

    Freaky Friday plays October 24 to 27, 2023, presented by The Catholic University Musical Theatre Department, performing at Hartke Theatre, 3801 Harewood Road NE, Washington, DC. Tickets ($20–$25) are available at the box office 202-319-4000 or online.

    Freaky Friday
    Book by Bridget Carpenter
    Music by Tom Kitt
    Lyrics by Brian Yorkey

    CAST
    Ellie: Erin Fitzgerald
    Katherine: Katie Vitale
    Fletcher: Lauren Rafoth
    Mike: Cayden Wallace
    Gretchen: Alaina Gust
    Hannah: Aleyna Francis
    Savannah: Madonnina Gullo
    Adam: Ethan Turbyfill
    Adult 1: Scarlett Spano
    Adult 2: Daniel Schlegel
    Adult 3: Alexis Griess
    Adult 4: Robert Garza
    Adult 5: Racheal Brandon
    Adult 6: Angelo Carucci
    Teen 1: Chase Nestor
    Teen 2: Kate Roddy Moore
    Teen 3: Ryan Dickson-Burke
    Teen 4: Allie MacDonald
    Teen 5: Mary Kelly
    Teen 6: Gianna Angela
    Female Swing: Sophie Rivkin-Fish
    Female Swing: Claire Sligh
    Male Swing: Jackson Biggs

    CREATIVE TEAM
    Director: Kathryn Chase Bryer
    Music Director and Conductor: Stella Monshaw
    Choreographer and Intimacy Choreographer: Nikki Mirza
    Scenic Designer: Samina Vieth
    Lighting Designer: Katie McCreary
    Costume Designer: Margaret E. Weedon
    Audio Engineer: Michelle Janota
    Assistant Director: Anna Sheehan
    Assistant Choreographer: Madonnina Gullo
    Stage Manager: Erin Peters
    Assistant Stage Manger: Daniel Campbell
    Fight and Dance Captain: Mary Kelly

  • St. Mark’s Players’ musical energizes and modernizes ‘Love’s Labour’s Lost’

    St. Mark’s Players’ musical energizes and modernizes ‘Love’s Labour’s Lost’

    Plays have been put on in nearly every location known to humankind, and a show in a church is no new concept; however, there’s something about the ambiance of St Mark’s Episcopal Church on Capital Hill — dark wood, stained windows, and arching ceilings — that makes the musical Love’s Labour’s Lost performed by St. Mark’s Players almost ethereal.

    The production is performed in the round: a circular center set piece (designed by Dan Lavanga) with the audience encircling the stage in four seating sections, making it easy for the actors to break the fourth wall and communicate directly with the audience. The natural setup of the church creates a very Shakespearean environment without needing additional accouterments: the pews are pushed to the sides and the architecture of the church frames the space.

    Sam Caplan as King, Jesse Friedson as Longaville, Ted Randell as Berowne, and Christian Wilson as Dumain in ‘Love’s Labour’s Lost.’ Photo by Sam West.

    Love’s Labour’s Lost with songs by Michael Friedman and book adapted by Alex Timbers is based on the Shakespeare comedy of the same title. It keeps the best parts of the original play, omits the longer scenes, and infuses a pop-rock score to modernize and energize the show.

    It’s a fantastic entry point for those new to Shakespeare, as the songs make the language more accessible, and St. Mark’s Players brings the language to life by highlighting the modernization of the story and leaning into the action.

    Love’s Labour’s Lost centers on a group of boys and a group of girls, each yearning for love (and lust). At their college reunion, the boys, King (Sam Caplan), Berowne (Ted Randell), Dumaine (Christian Wilson), and Longaville (Jesse Friedson), vow to abstain from alcohol and girls. At the same time, each of them reconnects with their respective college crushes: Princess (Audrey Landau Townsend), Rosaline (Jessica Cooperstock), Maria (Alicia Braxton), and Katherine (Willow Laporte). There’s a secondary plotline, as is typical in Shakespeare, featuring Don Armado (Gerardo Mijares-Shafai) and his love Jaquenetta (Jillian Rubino). In addition, we are graced by the working class of these elites, The Princess’ attendant, Boyet (Caris Gross); Armado’s page, Moth (Eddie Perez-Reyes); Costard (Meredith Warden), an illiterate messenger; and Officer Dull (Josh Katz).

    The performances are genuine and passionate all around. Landau Townsend’s Princess is spunky and sassy, contrasted by Caplan’s discipline and reserve as the King (though we get to see his other side in “The King’s Sonnet”). Randell brings a delightful play to Berowne, coupled with his voice, which reverberates through the church. The camaraderie between the four boys is unparalleled and receives many well-deserved laughs.

    Mijares-Shafai steals the show with his take on Armado. Within seconds of his first scene, he has stripped down to a pineapple speedo and saunters through the space with a bravado perfectly suited to his character. Rubino pulls all the stops in the iconic “Love’s a Gun.” Standout numbers include “Young Men,” “I Love Cats” (featuring Eddie Perez-Reyes and a stuffed cat), “Rich People,” and “Are You a Man.”

    TOP: Caris Gross as Boyet, Jessica Cooperstock as Rosaline, Audrey Landau Townsend as Princess, Alicia Braxton as Maria, and Willow Laporte as Katherine; ABOVE LEFT: Megan Greig as Mercade & Dance Captain, Caris Gross as Boyet, and Jillian Rubino as Jaquenetta; ABOVE RIGHT: Gerardo Mijares-Shafai as Armado, in ‘Love’s Labour’s Lost.’ Photos by Sam West.

    Director Paul di Salvo leads the resurgence of this archaic but timeless show into the hyper-modern present. Hilarious examples are when the girls are seen vaping and riding on scooter boards (the little square skateboards featured in nearly every 2000s gym class).

    The harmonies in the group numbers, captained by Music Director Sarah Vespa, are enhanced by the beautiful acoustics of the church. The choreography, by Victoria Jungck, fits the tone of the show with comical full-cast dances and lovely partner work between Greig and Gross during “Love’s a Gun.”

    The audience turnout is evidence of the power of community theater. The cast features a mix of retired high school/college performers, active DMV artists, and those new to the stage entirely. St. Mark’s Players allows community members to be involved in theater in a multitude of ways and encourages community building through the arts.

    Running Time: One hour and 45 minutes with no intermission.

    Love’s Labour’s Lost plays through May 18, 2024, presented by St. Mark’s Players performing at St. Mark’s Church, 301 A Street SE, Washington, DC. Tickets ($25 for adults; $22 for students and seniors) may be purchased at the box office or online.

    Love’s Labour’s Lost
    Songs by Michael Friedman
    Book adapted by Alex Timbers

    CAST
    King: Sam Caplan
    Berowne: Ted Randell
    Dumaine: Christian Wilson
    Longaville: Jesse Friedson
    Princess: Audrey Landau Townsend
    Rosaline: Jessica Cooperstock
    Maria: Alicia Braxton
    Katherine: Willow Laporte
    Boyet: Caris Gross
    Moth: Eddie Perez-Reyes
    Don Armado: Gerardo Mijare-Shafai
    Jaquenetta: Jillian Rubino
    Dull: Josh Katz
    Costard: Meredith Warden
    Holofernes: Clare Pierce-Worbel
    Nathaniel: Justin Latus
    Mercade: Megan Greig
    “Love’s a Gun” Featured Dancers: Megan Greig, Caris Gross

    PRODUCTION TEAM
    Director: Paul Di Salvo
    Assistant Director: Gokce Oraloglu
    Music Director: Sarah Vespa
    Choreographer: Victoria Jungck
    Dance Captain: Megan Grieg
    Producer: Caroline Adams
    Producer: Sidney Davis
    Producer: Monique Morman
    Stage Manager: Page Tazewell
    Assistant Stage Manager: Maddy Mustin
    Assistant Stage Manager: Brianna Day
    Set Design/Construction: Dan Lavanga
    Set Construction Crew: Paul Di Salvo, David Hegwood, Chelsea Herrick, Kathryn Stirlir
    Scenic Painting Design/Set Dressing: Jillian Rubino
    Scenic Painting Crew: Caroline Adams, Paul Di Salvo, Meghan Foster, Megan Greig, Chelsea Herrick, Justin Latus, Sarah Markley, Monique Morman, Ted Randell, Jillian Rubino, Kathryn Stirling, Page Tazewell
    Props Designer: Ruth Sturm
    Props Assistant: Susan Ades
    Costumes: Joan Lawrence
    Lighting Design: Sabrina McAllister
    Lighting Technician: Scott Graham
    Hair & Makeup: Rachel Watson-Pass
    Sound Op: Jon Grover
    Lighting Op: David Chase, Scott Morton
    House Manager: Meghan Foster
    Box Office Manager: Randall Kish
    Social Media Manager: Lilly McGee
    Publicity: Peter Orvetti
    Photographer: Sam West

  • An intimate queer quest for self in ‘Amm(i)gone’ at Woolly Mammoth

    An intimate queer quest for self in ‘Amm(i)gone’ at Woolly Mammoth

    Amm(i)gone may seem daunting to pronounce, but as creator and performer Adil Mansoor assures the audience merely five minutes into his show, there is no way to mispronounce it. To him, it is AHM-ee-gawn; to others, it is ah-MEE-guh-nee. This freedom of pronunciation sets the tone for the rest of the piece: a freedom of interpretation, expression, and connection is instilled and welcomed in the very fiber of the performance.

    Adil Mansoor in ‘Amm(i)gone.’ Photo by Teresa Castracane.

    Amm(i)gone at Woolly Mammoth Theatre in Penn Quarter is a verbal conversation, some could say ongoing soliloquy, between Mansoor and the audience. It is centered around his experience asking his mother to translate Sophocles’ Antigone into his and his mother’s first language, Urdu. However, throughout his retelling of this story, we learn much more about Mansoor: his identity as a queer man, his experience growing up in Chicago as a Pakistani immigrant, and his relationship with his Muslim mother as she grapples with his identity. More than an explanation of how to translate Antigone, it becomes an exploration of how to navigate complicated relationships — ultimately posing, and accepting the lack of an answer to, the question How can I be my fullest self around others?

    An intellectual script, powerful language, and a dynamic performance make the piece a moving and awe-inspiring experience. The show asks profound questions of the audience in a way that makes us feel intricately crucial to its success. Mansoor commands the stage, in complete control and ownership of the narrative, while leaving room for open expression and reaction from his audience, a master class in present and generous performance.

    In this self-biographical and philosophical piece, Mansoor is cast as himself: Adil Mansoor. Though the rehearsal, direction, time, and effort put into the piece are evident, in a brilliant way, it never feels as though Mansoor is performing. We feel he is simply existing, and that is the best type of acting. Inside Woolly Mammoth’s modern theater, it feels remarkably intimate to be sharing the space with Mansoor, less like watching him from the audience as he is onstage and much more as though we are guests in his living room. A familiarity and understanding between audience and performer is created through the set, script, and amicability of Mansoor.

    Though much of the piece is birthed from the genius and artistry of Mansoor, the show’s success is made possible with the support of his creative and production team. Co-director Lyam B. Gabel aids Mansoor in bringing the richness of the story to an animated stage, aptly described as “meticulous” by Maria Manuela Goyanes, artistic director of Woolly, during her opening night speech.

    Adil Mansoor in ‘Amm(i)gone.’ Photo by Teresa Castracane.

    The technical elements are interwoven into the story, becoming the ensemble of this one-man show and bolstering the performance. The technical expertise of Media Co-designers Joseph Amodei and Davine Byon creates a seamless connection between the projections on the screen behind Mansoor and the words he speaks in real-time. Through a live overhead projection camera on stage, Mansoor shows photographs and fabrics, his hands illuminated under the light as the images appear on screen. Sound Designer Aaron Landgraf expertly layers into the storyline audio recordings of conversations between Mansoor and his mother, allowing us to glimpse into their relationship.

    Set and Lighting Designer Xotchil Musser created a beautifully decorative stage with wooden set pieces framing the space, each carved in ornate mandala patterns. Additionally, lighting choices bring the show’s natural ambiance to life, opening with a lavender hue to set a tone of wonder and passion and closing with an orange glow, like a sunset.

    Adil Mansoor in ‘Amm(i)gone.’ Photo by Teresa Castracane.

    The final moment is incredibly captivating: the projections cease, the lights dim, and wooden lanterns hung throughout the space light up, silhouetting Mansoor as he sits with his back to us, listening to “Alif Lam Meem,” a lilting melody of three untranslatable Arabic words composed by Shahzad Ismaily and Aya Abdelaziz.

    The production shines bright and connects deeply, as all good theater does. The audience’s chuckles, oohs, aahs, and mhmms are evidence of its impact. The issues that Mansoor sifts through hit home with much of the world today, adding to the connection the piece creates.

    As the show lives on in history when the Urdu translation of Antigone makes its way into the world, we can say we saw the play about its conception, Amm(i)gone. A story grounded in passion and desire. Passion for love, language, and Antigone. Desire for connection, acceptance, and translatability.

    Running Time: 80 minutes with no intermission.

    Amm(i)gone (presented by Woolly Mammoth Theatre Company with the Washington Blade in association with Kelly Strayhorn Theater) plays through May 12, 2024, at Woolly Mammoth Theatre Company, 641 D St NW, Washington, DC,  Tickets ($60–$80 with limited Pay-What-You-Can tickets) can be purchased online, by phone at 202-393-3939 (Wednesday–Sunday, 12:00–6:00 p.m.), by email (tickets@woollymammoth.net), or in person at the Sales Office at 641 D Street NW, Washington, DC (Wednesday–Sunday, 12:00–6:00 p.m.).

    The program for Amm(i)gone is online here.

    COVID Safety: Masks are optional in all public spaces at Woolly Mammoth Theatre Company except for two MASK-REQUIRED PERFORMANCES: May 1 at 8 pm and May 12 at 2 pm. Woolly’s full safety policy is available here.

    Amm(i)gone

    CREATIVE TEAM
    Created and Performed by Adil Mansoor
    Co-Directed by Lyam B. Gabel
    Media Co-Designer: Joseph Amodei
    Media Co-Designer: Davine Byon
    Sound Designer: Aaron Landgraf
    Set and Lighting Designer: Xotchil Musser
    Stage Manager: Jazzy Davis

    CREW AND PRODUCTION TEAM
    BOLD Assistant Director: Fatima Dyfan
    Associate Lighting Designer: Sasha Finley
    Associate Scenic Designer: Cecilia Shin
    Costume Coordinator: Andrew Cutler
    Production Assistant: Briana Padgett
    Light Board Operator: Reina Ramos
    AV Operator: Preston Heard
    Lighting Programmer: Susannah Cai
    Crew Swing: Stephen Lyons II
    Tour Production Management: Colin K. Bills
    Carpenters: Mickey Cappiello, Stephen Lyons II, Melvin Knight, Vika Hearne, Aaron Ermlich
    Lighting Crew: Milan Robinson, Alexander Kim, E-hui Woo
    Key Art Design: Sylvie Lass. Key Art Photo: Beth Barbis. Key Art Border Pattern: Xotchil Musser.

    SEE ALSO:
    ‘Amm(i)gone,’ solo play about queer momma’s boy, to premiere at Woolly (news story March 28, 2024)

  • ‘Pippin’ powered by Mask and Bauble and nomadictheatre at Georgetown

    ‘Pippin’ powered by Mask and Bauble and nomadictheatre at Georgetown

    Though Pippin has been done thousands of times at thousands of colleges, what is significant about this production is that it is entirely student-run. From the director to the designers, the cast, and even a live orchestra of only students, this show is put on under the supervision and execution of Georgetown University students. Impressively, to say the least, these students have taken a complex show and put it on its feet with the support of each other. Pippin, featuring students across majors, schools, and grades, is put on in collaboration with two of the student theater groups on campus: Mask and Bauble and nomadictheatre. 

    Daniel Tomas, Lainey Lyle, Kait Delaney, Caitlin Waugh, Marre Gaffigan, Caroline Samoluk, Amelia Shotwell, Michael Scime, Daisy Thomas, Jaqueline Luque, and Ruth Abramovitz in ‘Pippin.’ Photo by Miranda Xiong.

    Pippin is a 1972 musical with music and lyrics by Stephen Schwartz, book by Roger O. Hirson, and original direction and choreography by Bob Fosse. Schwartz’s harmonies are honored in the Act 1 finale, “Morning Glow,” under the musical direction of Owen Posnett. Hirson’s words are brought to life with the direction of Drew Lent (his directorial debut!), and Fosse’s choreography is exemplified by co-choreographers Lily Geiser and Micaela Wells with fantastic dance breaks in “Spread a Little Sunshine” and “Glory.”

    A classic hero’s journey plotline, the show follows our hero, Pippin (Tommy Reichard), as he searches for fulfillment in his life. After graduating from school, he returns home to his father, King Charles (Daniel Tomas), stepmother Fastrada (Caitlin Waugh), and stepbrother Lewis (Nate Findlay). During this quest for meaning, he visits his grandmother Berthe (Daisy Thomas), who advises him to stay in the moment in a hilarious number “No Time at All.” The second act brings widow Catherine (Amelia Shotwell) and her son Theo (Lainey Lyle) into Pippin’s life, and he spends a year working on their estate and falling in love with Catherine. All the while Pippin — and the audience — are under the watchful and commanding gaze of the Leading Player, the show’s emcee, narrator, and entertainer (Caroline Samoluk).

    The actors grab the show by the horns and fully commit to telling this story. Waugh gives Fastrada much-needed sass and sensuality, exemplified in her well-executed “Spread a Little Sunshine” dance solo. Findlay is a joy to watch; with his impeccable stage presence, he had the audience cackling. Tomas gives King Charles a hysterical nature of unflappability as his kingdom goes down in flames. Berthe is your classic crazy, comical grandmother under Daisy Thomas’s loving care.

    TOP LEFT: Kait Delaney, Daniel Tomas, Tommy Reichard, Rishu Nevatia, Daisy Thomas, Jaqueline Luque, Caroline Samoluk, and Michael Scime; TOP RIGHT: Jacqueline Luque, Michael Scime, and Rishu Nevatia; ABOVE LEFT: Caroline Samoluk; ABOVE RIGHT: Amelia Shotwell and Tommy Reichard, in ‘Pippin.’ Photos by Miranda Xiong.

    Shotwell’s voice blossoms in “Kind of Woman” and Lyle creates the most endearing portrayal of young Theo, closing the show beautifully with “Theo’s Corner.” Reichard approaches Pippin with curiosity and honor, his likeability mooring the show. And finally, Samoluk commands the stage and steers the show ahead with her bold presence, witty humor, and skillful dancing matched by her players (Abramovitz, Delaney, Gaffigan, Georgussis, Luque, Nevatia, Scime).

    The show breaks the fourth wall; the actors speak directly to the audience. In the Blackbox theater, this works to captivate the audience. A catwalk adorned with light bulbs and a backdrop featuring PIPPIN in bright red letters with bulbs identical to those that line the stage give the show a very cabaret-esque feel — allowing the audience to become part of the production as it unfolds.

    Pippin displays the power of student-driven theater and the resulting benefit of passion-led performances. As the actors take their final bow, they launch into an audience sing-along reprise of “No Time at All” and the joy imbued in this community-filled production is evident all around.

    Running Time: Approximately two hours and 30 minutes including a 15-minute intermission.

    Pippin plays through April 20, 2024, presented by Mask and Bauble Dramatic Society and nomadictheatre performing at Georgetown University in Poulton Hall, Stage III, 1421 37th Street NW, Washington, DC. Tickets ($10) are available online.

    The program for Pippin is online here.

    Pippin
    Music and Lyrics by Stephen Schwartz
    Book by Roger O. Hirson

    CAST
    Pippin: Tommy Reichard
    Leading Player: Caroline Samoluk
    Berthe: Daisy Thomas
    Catherine: Amelia Shotwell
    Fastrada (u/s Berthe): Caitlin Waugh
    King Charles: Daniel Tomas
    Lewis (u/s Pippin): Nate Findlay
    Theo (u/s Catherine): Lainey Lyle
    Player: Ruth Abramovitz
    Player (u/s Leading Player): Kait Delaney
    Player (u/s Fastrada): Marre Gaffigan
    Player (u/s King Charles): Alexandros (X) Georgussis
    Player (u/s Theo): Jacqueline Luque
    Player: Rishu Nevatia
    Player (u/s Lewis): Michael Scime

    CREATIVE TEAM
    Directed by Drew Lent ‘25
    Stage Managed by Sean Rafferty, ’26
    Co-produced by Katherine Martinez, ’25
    Co-produced by Lily Shytle, ’24
    Co-Technical Direction by Cliff Stern, ‘26
    Co-Technical Direction by Molly Kenney, ’25
    Musical Direction by Owen Posnett, ’24
    Co-Choreographed by Lily Geiser, ’24
    Co-Choreographed by Micaela Wells, ’26
    Assistant Director: Anna Dewey ‘26
    Assistant Director: Scott Burke ‘26
    Assistant Producer: Benjamin Fishbein ‘26
    Assistant Stage Manager: Brooke Bergin ‘27
    Assistant Stage Manager: Ruby Lillie ‘27
    Assistant Technical Director: Alec Hamblet ‘27
    Assistant Music Director: Sophie Maretz ‘26
    Assistant Music Director: Henry Ren ‘26
    Assistant Choreographer: Kayla Jones ‘25

    PRODUCTION STAFF
    Set Designer: Briana Sparacino ‘25
    Set Dresser: Linsey Brookfield ‘26
    Scenic Artist: Jinhe Zhao ‘27
    Scenic Artist: Tara Chawla ‘27
    Head Electrician: Abby Hames ‘24
    Lighting Designer: Antoinette Kersaint ‘25
    Lighting Designer: Nick Romero ‘25
    Sound Designer: Lily Marino ‘26
    Assistant Sound Designer: Victoria Baioni ‘27
    Properties Designer: Miranda Fair ‘25
    Properties Designer: Sabrina Perez ‘24
    Costume Designer: Ainsley Atwood ‘26
    Costume Designer: Erin Davies ‘25
    Assistant Costume Designer: Caroline Woodward ‘27
    Assistant Costume Designer: Reilly Souther ‘27
    Hair and Makeup Designer: CC Mesa ‘26
    Hair and Makeup Designer: Celesta Viana ‘26
    Assistant Hair and Makeup: Alex Roberts ‘26

  • Joyous ‘Mouse on the Move’ delights at Imagination Stage

    Joyous ‘Mouse on the Move’ delights at Imagination Stage

    You know it’s a special show when audience members are handed props — a rare occurrence but one that successfully piques audience engagement. It’s even more special when audience members are given not one prop but a suitcase full of props.

    In Imagination Stage’s Theatre for Young Audiences production (TYA) of Mouse on the Move, each child in attendance receives a small, colorful suitcase filled with props (by Andrea “Dre” Moore) as they enter the theater. The “little mice” (kids) sit on the edge of a chalk circle that is drawn to represent the stage, one of their guardians sits on a bench behind them, and the rest of the “adult mice” sit in the actual seats of the Christopher and Dana Reeves Studio Theatre at Imagination Stage in Bethesda, Maryland.

    ‘Mouse on the Move’ show art courtesy of Imagination Stage.

    Mouse on the Move is an interactive show for children ages 1 to 4 (though there were infants, grandparents, and everyone in between in attendance). The show follows sisters Amelia Mouse (Rebecca Ballinger) and Nellie Mouse (Cynthia Davis) as they journey outside their mouse hole. The Mouse sisters take us through a typical day: brushing their teeth, stretching, and, of course, eating cheese. But when they run out of cheese, they go on a quest to find more. In hopes of reaching the moon, which they believe is made of cheese, we watch as they travel by car, boat, and plane.

    This imaginative story, written and directed by Kathryn Chase Bryer and Janet Stanford, does an excellent job of incorporating children into the experience. Much to the kids’ delight, they are welcomed into the center of the circle a few times throughout the approximately 45-minute performance.

    During Amelia and Nellie’s journey, they meet Mama Ladybug and Mama Starfish (hand puppets operated by Ballinger and Davis respectively), who are searching for their children. The sisters ask the audience if they have seen the ladybug babies (red clothespins) and starfish babies (colorful bowls). Both “babies” are in the prop suitcase, and the kids are invited to return the babies to their mothers.

    TOP LEFT: Nellie Mouse (Cynthia Davis) stands, smiling, with her arms raised; TOP RIGHT: Nellie Mouse (Cynthia Davis) and Amelia Mouse (Rebecca Ballinger) drive in a car while it rains; ABOVE LEFT: Nellie Mouse (Cynthia Davis) grabs the tail of Amelia Mouse (Rebecca Ballinger); ABOVE RIGHT: Nellie Mouse (Cynthia Davis) and Amelia Mouse (Rebecca Ballinger) look at the moon projected, in ‘Mouse on the Move.’ Photos © by Liana SC. TOP LEFT: Nellie Mouse (Cynthia Davis) stands, smiling, with her arms raised; TOP RIGHT: Nellie Mouse (Cynthia Davis) and Amelia Mouse (Rebecca Ballinger) drive in a car while it rains; ABOVE LEFT: Nellie Mouse (Cynthia Davis) grabs the tail of Amelia Mouse (Rebecca Ballinger); ABOVE RIGHT: Nellie Mouse (Cynthia Davis) and Amelia Mouse (Rebecca Ballinger) look at the moon projected, in ‘Mouse on the Move.’ Photos © by Liana SC.

    Additionally, there are several moments when the kids help tell the story through props. When Amelia and Nellie reach the North Sea, all the kids are asked to put on the scarves from their suitcases because it’s cold. The adults are then handed white loofahs, which are tossed onto the stage as snowballs so that the kids can play in the snow.

    However, the prop that elicited the most enthusiasm from the small audience members was the bells. When the prop suitcases were handed out by the Facilitator (Matthew Crawford) before the show started, the kids were immediately drawn to the colored bells among the other props. Suddenly, the room erupted with a cacophony of dinging, ringing, and clinging from these bells. As the show began, the actors explained that the bells can be rung only when they see the moon; otherwise, they must be silent. Each time the moon was projected at various points throughout the show, the kids were quick to ring the bells, sometimes shouting and pointing: “Moon!”

    Ballinger excels in the difficult task of telling a story to young audience members that they can understand. With her animated facial expressions and larger-than-life movements, she is a crowd-pleaser among kids and adults. Davis charms with her bright smile and adorable portrayal of timid Nellie Mouse, perfectly contrasting the unflappable confidence of her sister, Amelia Mouse.

    The best part of the show, though, is watching the faces of these young audience members: the smiles, the giggles, the abrupt interruptions, and the pure wonder that dances across their faces. As they observe, ring their bells, walk on stage when invited, and dig through their suitcases, their joy is simply contagious.

    Imagination Stage proves how powerful TYA can be. Exposing kids to theater at a young age helps ensure that the arts continue influencing them as they grow up. The positive memories created by attending a show like Mouse on the Move pave the way for more theater experiences in their futures.

    While Mouse on the Move is recommended for children ages 1-4 and their guardians, anyone can have a great time attending the show — a joyful experience for everyone and a beautiful reminder of the importance of children’s theater.

    Running Time: Approximately 45 minutes with no intermission.

    Mouse on the Move plays through February 11, 2024, in the Christopher and Dana Reeves Studio Theatre at Imagination Stage – 4908 Auburn Ave., Bethesda, MD. Shows are on Saturdays and Sundays at 9:00 am, 10:30 am, and 12:00 pm. Tickets ($19.50 and up) may be purchased online, in person at Imagination Stage’s box office, or by phone at 301-280-1660. Group rates are available for parties of 10+.

    Best for ages 1 to 4.

    COVID Safety: Masks are optional. 

    Mouse on the Move
    Written and Directed by Kathryn Chase Bryer and Janet Stanford
    Music by Tim Guillot

    Cast
    Amelia Mouse: Rebecca Ballinger
    Nellie Mouse: Cynthia Davis
    Facilitator: Matthew Crawford
    U/S Amelia and Facilitator: Jackie Madejski
    U/S Nellie and Facilitator Understudy: Bri Houtman

    Production Team
    Written and directed by Kathryn Chase Bryer and Janet Stanford
    Music by Tim Guillot
    Imagination Stage Manager: Olivia Viola
    Remount Props Coordinator: Andrea “Dre” Moore

  • ‘A Delicate Ship’ is 4615 Theatre Company’s laudable last hurrah

    ‘A Delicate Ship’ is 4615 Theatre Company’s laudable last hurrah

    I don’t often find myself choosing to creep down dark alleyways but this Friday evening I ventured down one just off of Harvard Street in Columbia Heights. At the end of this seemingly precarious alley is a window-paned door that marks the entrance into Studio 1469, 4615 Theatre Company’s performance venue. The moment I entered this tiny space that acts as the waiting room, a sense of community and comfort welcomed me. Nearly everyone seemed to know each other as we all stood, packed like sardines, waiting for the “house” to open. I later learned that almost all of them were involved or connected to 4615 — a preliminary illustration of the rich community that has infused 4615 Theatre Company for the last ten years.

    Jordan Friend as Nate and Mary Myers as Sarah in ‘A Delicate Ship.’ Photo by Charlotte La Nasa.

    Studio 1469 is by no means a conventional theater and yet that only adds to the charm. 4615 Theatre Company’s DC premiere of Anna Ziegler’s A Delicate Ship (and final production as a company) takes place in a remodeled garage. Exposed concrete floors, overhead lights, and bright white walls create an intimate environment. A candy cane shape of 30 chairs establishes the “stage” on which a dining room table and chairs, couch, bench, and adorably squat Christmas tree frame the space. The room is set with sweatshirts strewn over a railing, shoes piled under the bench, and books littered on the bottom tier of a nightstand. All of this comes together to create Sarah’s New York City apartment in A Delicate Ship.

    A Delicate Ship tells the story of Sarah (Mary Myers), her relatively new boyfriend Sam (Stephen Russell Murray), and her childhood best friend Nate (4615 Theatre Company founder Jordan Friend). The entire play occurs on one Christmas Eve when Nate arrives at Sarah’s front door to both Sarah and Sam’s surprise. We learn the trio’s backstories through vignettes in which the actors turn to the audience, seated a mere four feet away, and relay moments from their past that shaped the present reality. As the play unfolds, the love triangle between the three characters becomes the star of the show as both Sam and Nate fight for Sarah’s love. Sarah’s choice isn’t made clear until the last five minutes of the play, after a 75-minute tug-of-war between Sam and Nate.

    It’s a love triangle like all the others and yet the poeticism that Ziegler brings to her writing, the pace that Director Jenna Place instills throughout, and the imagery that the actors bring to life make it twice as dynamic as your basic rom-com. It’s a circus full of inside jokes and only Sarah understands them all. A battlefield of love and you never quite know which team to root for — Sarah and Sam: passionate, young love or Sarah and Nate: childhood history drenched with undying devotion.

    Friend commands the space with his velvety voice and unparalleled presence. He demands the attention of the audience and those onstage in such a truthful manner that despite Nate’s somewhat delusional proclamations about life, death, and love we see the core of his person shine through the illusion of his words.

    Myers gives 33-year-old Sarah the subtlest quality of childlike wonder, which makes her a magnet for the audience’s affection. And Murray contrasts the surrealism of Friend’s Nate with a lovable and grounded Sam. His presence, though maybe not who I was rooting for in the battle, offers unwavering stability and comfort.

    The production team only enhances Ziegler’s luscious writing. Sound design, by none other than Friend himself, fades smoothly in and out, creating moments of unwavering silence in this echoey garage and beautiful instrumental music framing the introspection that permeates the script. If at times the introspection runs on for too long, and we find ourselves craving to know who wins in the battle of love, it is made up for by the fierce presence of each actor as they so valiantly fight for what they think is the right outcome.

    TOP: Mary Myers as Sarah and Stephen Russell Murray as Sam; ABOVE: Stephen Russell Murray as Sam, Jordan Friend as Nate, and Mary Myers as Sarah, in ‘A Delicate Ship.’ Photos by Charlotte La Nasa.

    Scenic and lighting designer Andrés Poch makes ingenious use of this garage, turning it into a gorgeously intimate and startingly lifelike playing space. I can’t imagine wanting to see this show anywhere else but the remodeled garage that is Studio 1469. Mixed into this heartfelt play is a testament to theater’s adaptability: a show can take place anywhere with the right intentions, community, and imagination.

    On December 23 when this show closes, the actors will not be the only ones taking a final bow as A Delicate Ship is 4615 Theatre Company’s final production. This show undeniably stands on the foundation of community, resilience, and passion that so obviously make up this theater company. A commendable last hurrah for 4615, A Delicate Ship imparts resounding notes of love, connection, passion, and inspiration to all who are lucky enough to see it.

    Running Time: Approximately 80 minutes with no intermission.

    A Delicate Ship plays through December 23, 2023, presented by 4615 Theatre Company performing at Studio 1469, 1469 Harvard St. REAR NW, Washington, DC. Purchase pay-what-you-can tickets online.

    The program for A Delicate Ship is online here. 

    COVID Safety: Masks are required at all Wednesday performances.

    A Delicate Ship by Anna Ziegler
    Directed by Jenna Place
    With: Jordan Friend (Nate), Mary Myers (Sarah), Stephen Russell Murray (Sam)
    Assistant Director & Producer: Charlotte La Nasa
    Scenic & Lighting Designer: Andrés Poch
    Sound Designer: Jordan Friend
    Fight & Intimacy Coordinator: Megan Behm
    Stage & Production Manager: Paige Washington

    SEE ALSO:
    4615 Theatre announces surprise final production (news story, November 14, 2023)