DC Theater Arts

Category: Children’s Theater

  • A fun and nerdy musical for kids, ‘Dr. Wonderful (And Her Dog)’ at Keegan

    A fun and nerdy musical for kids, ‘Dr. Wonderful (And Her Dog)’ at Keegan

    To see The Amazing Adventures of Dr. Wonderful (And Her Dog) is to go on an educational and humorous imaginary journey into space without ever leaving the intimate, cozy, exposed-brick Keegan Theater in Dupont Circle. The musical — book and lyrics by Lauren Gunderson, music by Bree Lowdermilk, directed and choreographed by Elena Velasco — is interactive, full of facts about the sun and planets, and it’s immersive, thanks to the projection throughout designed by Zavier Augustus Lee Taylor.

    Christopher Rios as Newton, Ruth Elizabeth Diaz as Dr. Wonderful, and Delante Dates as Ben in ‘The Amazing Adventures of Dr. Wonderful (And Her Dog).’ Photo by Cameron Whitman Photography.

    Before the show begins, the nerdy and fun mood is set as songs like “I Am a Paleontologist” by They Might Be Giants play and theatergoers take in the fascinating set, which is a child’s bedroom illuminated with some glowy blue lights.

    The musical then introduces us to some of the characters: Dr. Wonderful, played by Ruth Elizabeth Diaz; her butterscotch-loving and sarcastic dog, played with charm and irreverence by Christopher Rios; and her mom played by Carianmax Benitez. The plot boils down to Dr. Wonderful, a precocious and ambitious young woman wanting to prove herself as a “real” scientist. She gets her chance when a mysterious detective with a Brooklyn accent, played hilariously by Benitez, gives her a case to solve: figure out who or what will take away our beloved sun!

    Christopher Rios as Newton, (back:) Ruth Elizabeth Diaz as Dr. Wonderful, and Delante Dates as Ben in ‘The Amazing Adventures of Dr. Wonderful (And Her Dog).’ Photo by Cameron Whitman Photography.

    Through song, imagination, and Dr. Wonderful’s constant explanations to her endearingly clueless dog, children will learn quite a bit. In the song “Super Science Man,” the audience learns about the sun in an interactive way. In “Fusion Gives the Power,” one of the best songs in the performance, the entire cast and audience are involved. We also meet Ben, Dr. Wonderful’s friend, and crush, played by a lovable Delante Dates, who becomes part of the crew. In the fun and funny “Rockin the Science,” which showcases Benitez’s strong and gorgeous voice, Dr. Wonderful’s mom gives her permission and the gang embarks on their imaginary trip through our solar system.

    Dr. Wonderful, her dog, and Ben do solve the mystery (it’s a natural phenomenon, not an evil sun thief), and that’s where the 3-D glasses given out before the show come in. One of the last songs is “Wow,” a pretty song that aptly describes the audience’s reaction to this offbeat and educational musical. After returning to earth and the Keegan Theatre, the entire gang, and the audience along with them, have a lot more knowledge about space, and possibly a craving for a “butterscotch pizza dog,” too.

    Running Time: 60 minutes with no intermission.

    The Amazing Adventures of Dr. Wonderful (And Her Dog) plays Saturday, July 16, at 1 pm; Monday, July 18, at 7 pm; Tuesday, July 19, at 7 pm; Saturday, July 23, at 1 pm; and Sunday, July 24, at 7 pm presented by Keegan Play-Rah-Ka performing at Keegan Theater, 1742 Church Street NW, Washington, DC. Purchase tickets ($27) online.

    COVID Safety: In an effort to keep patrons, artists, and staff safe and healthy, Keegan requires masks and proof of vaccination. Keegan’s complete Current Health & Safety Policies are here. 

    Music Direction by Matty Mitchell; Lighting Design by Venus Gulbrason; Sound Design by Cresent Hayes; Sound Engineering by Michelle Janota; Set and Props Design by Cindy Landrum Jacobs; Costume Design by Imari Pyles; Hair and Makeup Design by Craig Miller; Master Carpentry by Matthew J. Keenan; Stage Management by Rachel Crawford, assisted by Olivia Springberg.

  • ‘Mr. Popper’s Penguins’ musical with puppets triumphs at Imagination Stage

    ‘Mr. Popper’s Penguins’ musical with puppets triumphs at Imagination Stage

    “Sophisticated” and “elegant” might not be words you’d expect to read in a review of a musical aimed at children, but Imagination Stage’s Mr. Popper’s Penguins embodies both. Harkening back to classic productions like Annie and 42nd Street, Mr. Popper’s Penguins, with a book by Robert Kauzlaric and music and lyrics by George Howe, transports the audience to the Depression-era 1930s fictional small town of Stillwater, an enjoyable place to spend an hour — although protagonist Mr. Popper only dreams of leaving for an Antarctic adventure.

    Jonathan Atkinson, Sylvern Groomes Jr., Karen Vincent, and Edima Essien in ‘Mr. Popper’s Penguins.’ Photo by Margot Schulman.

    The mood is set before the show even starts, as the curtainless set is both halcyon and intriguing; hats off to Andrew Cohen for the stunning and immersive scenic design. The musical, based on the 1939 novel of the same name, tells the story of Mr. Popper, played by Jonathan Atkinson, and his wife, Mrs. Popper, played by Edima Essien, and the way an unexpected delivery of a penguin eventually leads them to overcome their financial troubles. A strength of the show is that it is not in any way “dumbed down” for the young audience. It is sophisticated, believing that children are intelligent enough to grasp its concepts and themes, and they absolutely do.

    Karen Vincent, Jonathan Atkinson, and Sylvern Groomes Jr. in ‘Mr. Popper’s Penguins.’ Photo by Margot Schulman.

    The cast of four adults is superb. Atkinson is a vibrant and expressive Mr. Popper; he has a magnetic presence and is a true entertainer. He commands the stage and makes it all look easy. Essien’s Mrs. Popper is a perfect counterpart as the realist, devoted, loving, and sometimes skeptical partner. She’s also a strong woman who is the brains behind the operation. It was a delight to watch her break out in a peppy timestep dance move during their act toward the end of the musical.

    The talent continues with the ensemble of two gifted actors who make the cast of four seem like 20: Sylvern Groomes Jr. and Karen Vincent. Each plays an impressive number of different characters with aplomb, humor, and skill. Groomes especially shines as vaudeville manager Mr. Greenbaum, and Vincent nails an irreverent Sir Francis Drake who had the audience laughing every time.

    The set, lighting (Sarah Tundermann), and props (Molly Singer) come together to tell this expansive story in just 75 minutes. Whether it was the lighting behind the windows showing day turning to night, or snow falling gently showing fall turning to winter, everything is flawless. There are numerous thoughtful, subtle, and historically accurate details, like a “Piggly Wiggly” stamp on the Poppers’ paper grocery bags. The most memorable props, of course, are cast members themselves: the penguin puppets! Alex Vernon is a virtuoso. He has designed multiple puppets of different ages and sizes that are expressive, show movement, and are seamlessly operated by the cast. From their blinking eyes and waddling feet to their adorably wiggly little offspring, these puppets send the audience into cuteness overload.

    Another element this musical gets right is the costumes. Ivania Stack might as well be a wizard for convincingly costuming the same two actors as characters that range from a barber, to a bus driver, to an uptight neighbor, to a theater usher, and on and on.

    The music in Mr. Poppers Penguins, thanks in part to musical direction by Deborah Jacobsen, is exquisite. For the first half of the musical, the songs are jazzy in a mellow way, and elegant. When Mr. and Mrs. Popper begin to train their penguins for a vaudeville act, the musical takes a dazzling turn to show business, and the music reflects that. Their “show-within-the show” at the Regal Theater is full of pizazz and razzle-dazzle, while also being uproariously funny. Of course, show business life isn’t for everyone, and the Poppers soon realize it’s definitely not for them. They receive some tempting offers as to what to do next, including an offer that might put them on “easy street” (a subtle nod to Annie, which is set in the same time period), and they put the penguins first in their ultimate decision.

    Karen Vincent, Edima Essien, Jonathan Atkinson, and Sylvern Groomes Jr. in ‘Mr. Popper’s Penguins.’ Photo by Margot Schulman.

    This musical feels grown-up and classic while still being enjoyable for the young audience members. There are several time-period slang words used, like zowie, hotsy-totsy, and swell. The Works Progress Administration (WPA) is mentioned, but not explained, and though adults and older children might know this is the Great Depression, younger ones most likely will not. But the financial strain and stress are clear regardless. My own son whispered to me his idea for how the Poppers could make money early on in the performance; he was genuinely concerned about the characters’ welfare, which means the entire cast and crew have triumphed.

    It’s worth mentioning another commendable aspect of this (and all Imagination Stage shows): there is really not a bad seat in the house. The style of the stage itself and the wise direction of Nathaniel P. Claridad ensure that Mr. Popper’s Penguins is engaging and accessible to every member of the audience.

    When you go, don’t miss the Smithsonian National Zoo’s mini-exhibit on penguins in the front lobby. Children can see the heights of various types of penguins, use a whiteboard to draw penguin feet, and learn fun penguin trivia.

    Best for ages 3 to 10.

    Running Time: On weekdays: 75 minutes, no intermission. On weekends: 90 minutes with intermission.

    Mr. Popper’s Penguins plays through August 7, 2022, at Imagination Stage, 4908 Auburn Avenue, Bethesda, MD. For tickets ($12–$36, with group rates available), call the box office at 301-280-1660 or purchase them online.

    COVID Safety: For performances of Mr. Popper’s Penguins, Imagination Stage requires proof of COVID-19 vaccination for ages 5+ at weekend performances only. For patrons coming to see Mr. Popper’s Penguins, everyone age 2 and up is required to wear a mask while in the Lerner Family Theatre. Imagination Stage’s complete COVID-19 Safety Precautions are here.

    Mr. Popper’s Penguins>
    Book by Robert Kauzlaric
    Music and Lyrics by George Howe
    Based on the novel by Richard and Florence Atwater
    Directed by Nathaniel P. Claridad

  • ‘Fantastagirl and the Math Monster’ allays kids’ fears at Adventure Theatre

    ‘Fantastagirl and the Math Monster’ allays kids’ fears at Adventure Theatre

    If we can all just embrace whatever we struggle with, maybe it won’t be such a struggle after all. This is a key message of Adventure Theatre MTC’s newest show, Fantastagirl and the Math Monster, directed by Jenny McConnell Frederick with musical direction from Ben Lurye. With lyrics and book by Tori Boutin and lyrics and music by Madeline Belknap, this is a bold and bright musical, aimed at the elementary school set but with some advice that benefits anyone willing to take it. Ariana Caldwell as Fantastagirl and Candice Shedd-Thompson as the Math Monster shine brilliantly, as a confident girl who is afraid of math (and failure) and the fear itself, which is personified, at the beginning of the musical, as a tiny puppet monster.

    Candice Shedd-Thompson as the Math Monster in ‘Fantastagirl and the Math Monster.’ Photo by Ryan Maxwell.

    Immediately, the dazzling set and groovy and psychedelic costumes set the tone for the show. The dialogue is snappy and full of rich, challenging vocabulary. The show feels both vintage (a mix of ’80s neon and shiny lamé) and modern (Fantastagirl has two fabulous moms, played by Carolyn Kashner and Ayesha Gowie, and one of her friends uses gender-neutral pronouns). Tori Boutin, who wrote the book and co-wrote the lyrics with Madeline Belknap, certainly seems to know their audience; there’s a poop joke within the first seven minutes that had the children cracking up.

    The second song, “Free of Math,” showcases Caldwell’s gorgeous and pleasing vocal talent. Fantastagirl has some highly relatable math anxiety, which shows up as the Math Monster. Hilariously portrayed by Shedd-Thompson, this “monster” only wants to be Fantastagirl’s helpful sidekick, and you’ll find yourself rooting for this unlikely hero. She begins to prove to Fantastagirl how useful math can be in “Fraction Action,” which also features the comical duo Andrew Quilpa and Fabiola Da Silva as Finn and Quinn, the twins who have trouble getting along and working together.

    Andrew Quilpa as Finn, Ariana Caldwell as Fantastagirl, Candice Shedd-Thompson as Math Monster, and Fabiolla Da Silva as Quinn in ‘Fantastagirl and the Math Monster.’ Photo by Ryan Maxwell.

    As the musical progresses, we are treated to a series of real-world problems that match with the topics on Fantastagirl’s upcoming math assessment. In another number, featuring the sassy Miranda Pepin as Busy Bea, it’s geometric shapes. In “Serum Drop Bop,” a smooth and funky number, Math Monster shows how skip counting can help Fantastagirl’s moms make their scientific plant experiment grow effectively. It’s definitely a bop, and don’t miss a clever special effect that elicited gleeful gasps from the audience!

    Shedd-Thompson’s standout Math Monster transforms from a small puppet to a bigger one, and then the actress herself, who we initially see as the “puppeteer,” becomes the full-size Math Monster. Shedd-Tompson’s comedic prowess is impeccable, and she had the audience laughing with a single look several times throughout the musical.

    In “Wanna Be Fantastic,” it’s become clear that math and English can be the perfect pair, and liking one doesn’t mean not liking or being able to do the other, contrary to what many of us were told and believed as kids ourselves. The antagonist of the musical, Calculating Sam, also provides comic relief throughout the show. Joshua Street is endearing as the lovable-despite-himself foe to Fantasagirl.

    Carolyn Kashner and Ayesha Gowie as Fantastagirl’s moms in ‘Fantastagirl and the Math Monster.’ Photo by Ryan Maxwell.

    One of the musical’s core messages, that one doesn’t have to do it without help in order to be considered successful or great, is conveyed beautifully in “Greater Than.” Adults and children alike will relate to the pressure we feel to be perfect, and how paralyzing the fear of failure can be. Fantastagirl begins to learn that accepting support is not only acceptable but perhaps a key to the success she seeks.

    The musical’s peppy final number, “My Monster and Me,” brings home this idea that we are all struggling or challenged by something, whether it is organization, risk-taking, using moderation, working with others, or, of course, math, but if we can learn to face the fear (our monsters) and “befriend” them, we will ultimately improve.

    For parents considering this lively musical, keep in mind that its running time is 60 minutes with no intermission. I think children ages 6 and up will enjoy it most.

    Running Time: 60 minutes, no intermission.

    Fantastagirl and the Math Monster plays through August 21, 2022, at Adventure Theatre MTC – 7300 MacArthur Blvd in Glen Echo, MD. For tickets ($25), call the box office at (301) 634-2270, or purchase them online.

    COVID Safety: Adventure Theatre requires everyone over the age of two years old attending its shows to wear a mask and remain masked while in our facility. A proof of vaccination will be required for admission for all individuals ages 12 and up. Adventure Theatre’s compete Covid Protocols are here.

    Fantastagirl and the Math Monster
    Book & Lyrics by Tori Boutin
    Music & Lyrics by Madeline Belknap
    Directed by Jenny McConnell Frederick
    Dramaturg and Literary Management by Divinia Shorter; Production Stage Management by Michelle Lynch; Costume Design by Paris Francesca Lighting Design by Marianne Meadows; Scenic Design by Grace Trudeau, Properties and Puppet Design by Andrea “Dre” Moore; Projection Design by Hailey LaRoe; Sound Design by Jordan Friend; Choreography by Sierra Young.

  • ‘Little Red Riding Hood and the 3 Little Pigs’ enchants at the Puppet Co.

    ‘Little Red Riding Hood and the 3 Little Pigs’ enchants at the Puppet Co.

    Peppered with adult-friendly jokes, captivating songs, and fresh takes on familiar fairy tales, the Puppet Co.’s Little Red Riding Hood and the 3 Little Pigs offers invaluable life lessons in a family-friendly way to create a memorable and enjoyable experience.

    Scene from ‘Little Red Riding Hood and the 3 Little Pigs.’ Photo by Allan Stevens.

    In an unusually erudite fashion, audience members hear what really transpired in those tales — straight from the not-so-big, not-so-bad wolf’s mouth.

    The play begins with a fresh rap from the wolf himself, setting the stage for his imminent exoneration. The funky bass in tandem with the brilliant rhyme scheme hooks viewers of all ages from the very beginning.

    When the wolf is done, viewers are introduced to the three little pigs who, against the backdrop of an extended commentary on the ills and pressures of capitalism, begin trashing the wolf’s beloved forest so they can build grandiose houses and amass large personal fortunes. Only the youngest pig — kind, naive pacifist Gregory — leaves the forest and actually ends up befriending the wolf he is supposed to fear.

    Upon learning the wolf is upset with the destruction of his home, Gregory shares that his brothers are at fault, which prompts the wolf to confront middle brother Michael.

    A poorly timed gust of wind and Michael’s own preconceived notions about predatory wolves combine to lead him on a campaign against the wolf, fueled by misinformation, that eventually taints Gregory’s perception of his new friend.

    The first half of the show offers poignant life lessons,  teaching children and reminding adults not to play into stereotypes and instead make their own judgments about individuals based on their actions. It cautions viewers to be good stewards of the environment, and it even calls to mind the current political environment with a depiction of characters attempting to profit off false narratives.

    Importantly, the language and content are such that these salient morals should not go right over young ones’ heads.

    There is also wonderful character development in the first portion of the show, and adult-friendly content, too. (One clever joke played on the characters being pigs when discussing chauvinism.) The eldest brother is also a typical older sibling: neurotic and bossy, yet practical and sensible. These are things that will keep parents engaged even while kids might not pick up on them.

    The Puppet Co. could have easily fallen into the trap of putting into play form Jon Scieszka’s The True Story of the 3 Little Pigs! but their take on it was amazingly unique.

    The second half of the show is where things slow down a bit. In contrast to the wolf’s groovy rap, Little Red Riding Hood regales audience members with a nice, lilting tune. The (unnamed) puppeteer behind Little Red Riding Hood had incredible vocals.

    There were also adult-friendly jokes in this segment (one springs to mind about teachers being rich), but there was only one true moral in this half of the show and it was beaten into viewers’ minds to the point of redundancy.

    Little Red Riding Hood is trying to raise money for red riding boots to match her red riding hood by selling cookies her granny baked Girl Scout-style. Her parents and her granny caution her to avoid wild animals and sell cookies only to people she knows, but she disobeys them and gives a cookie to the wolf.

    This gives the wolf a hankering for cookies that just won’t quit, and later places the wolf in Granny’s house, intimidating Little Red Riding Hood for a second time. Mercifully, this version of the tale doesn’t see Granny consumed.

    Scene from ‘Little Red Riding Hood and the 3 Little Pigs.’ Photo by Allan Stevens.

    The clear lesson here is undoubtedly a valuable one for kiddos about respecting adults, but there was little character development here and the end of this part of the show was rather predictable.

    This second part of the play extended the runtime to 52 minutes, which might be too much for small kids. Honestly, the Puppet Co. could have stuck with just the first part of the play and had a wildly enjoyable show.

    Overall, it was quite impressive how the Puppet Co. was able to weave so many valuable life lessons into the fabric of this innovative and kid-friendly show. The Puppet Co. continues to be masters of the new while delivering content in a format harkening back to the old.

    Run Time: Approximately 50 minutes with no intermission.

    Recommended for ages 4+.

    Little Red Riding Hood and the 3 Little Pigs plays through July 3, 2022 — Thursdays and Fridays at 10:30 am, Saturdays and Sundays at 11:30 am and 1 pm — at the Puppet Co. Playhouse, Glen Echo Park, 7300 MacArthur Boulevard, Glen Echo, MD. An ASL interpretation of the show is available June 26 at 11:30 am. June 25 at 11:30 am will be extra socially distanced.  Tickets ($15) are available online. (No ticket required for under age 2, but call the Box Office to reserve a free ticket.) For information call 301-634-5380 or email Box.Office@thepuppetco.org.

    ​​COVID Safety: At this time, the Puppet Co. is reevaluating COVID safety policies monthly. All those over the age of 2 are required to mask inside at all times. Until June 15, all patrons over the age of 5 need to show proof of vaccination for admission. For more information, see FAQs here.

    Little Red Riding Hood and the 3 Little Pigs

    Co-Direction: Elizabeth Dapo and Danny Pushkin
    Updated Lyrics: Kirk Bixby
    Original Script / Lyrics / Music: Christopher Piper, Mayfield Piper, Allan Stevens
    Puppet Design: Christopher Piper and Allan Stevens
    Costume Build: Mayfield Piper

    Cast:
    Bridgid Wallace as The Wolf, Little Red, and as David the Pig
    Mollie Greenberg as Gregory and Michael the Pigs, and as Granny
    Understudy: Danny Pushkin

    Executive Director: Toni Goldberg
    Artistic Director: Elizabeth Dapo

    Scene from ‘Little Red Riding Hood and the 3 Little Pigs.’ Photo by Allan Stevens.

     

  • 1st Stage’s ‘Under the Sea with Dredgie McGee’ is a treasure chest of delights

    1st Stage’s ‘Under the Sea with Dredgie McGee’ is a treasure chest of delights

    Delightful might be too weak a word. I mean, imagine Pee Wee’s Playhouse through the lens of Pirates of the Caribbean doing The Muppets Show. 1st Stage’s family-friendly Under the Sea with Dredgie McGee is one part variety show, one part meditation on overcoming loss, and an entire treasure chest of stunning visual spectacle!

    Matthew Aldwin McGee as Dredgie McGee in ‘Under the Sea with Dredgie McGee.’ Photo by Teresa Castracane.

    In Act One we’re introduced to Dredgie (the show’s sublime creator Matthew Aldwin McGee), who’s doing his best to keep his head above wa … er, doing his best to keep his variety show running despite the many mishaps of working with the denizens of the deep. There’s a sandworm doing Shakespeare, an octopus magician with their starfish assistant, a sea-mail segment with Tiki dwellers, a visit from Neptune, his salty wife Salacia and their pet Kelpy, a baby sea dragon that doubles as a musical instrument, a mermaid who clearly woke up on the wrong side of the seabed (played with brilliant comedic timing and a deliciously restrained lack of restraint by Natalie Cutcher), and a trio of sigh-rens that inspired a spontaneous sing-a-long at the performance I attended.

    Act Two opens with a beautiful, black light ballet with jellies and an angler fish and dives deeper into the darkness inside Dredgie — he is, literally, half the pirate he used to be. Here’s the heart of the show, taking us along the shipwrecked road to redemption to make Dredgie whole again with more than a little help from his friends. Though more serious than the first act, it still delivers on the whimsy with a sea snail escargourmet and a charmingly sweet visit from the now fully grown, like it’s really big, sea dragon. Will Dredgie complete his quest and be made whole again and what will he have to sacrifice to do so? Set a course for 1st Stage and find out!

    Jacob Yeh as Neptune and Suzy Alden as Salacia; Suzy Alden, Linda Bard, and Ezinne Elele as the sigh-rens; and Natalie Cutcher as Hexikalina in ‘Under the Sea with Dredgie McGee.’ Photos by Teresa Castracane.

    There is so much to recommend about this production. When you first walk in Christa Noel Smith’s set looks like a giant pirate-themed aquarium with vaudeville curtains in the middle. It’s beautifully lit by Alberto Segarra. The sound complements everything from the ambient design by navi to incidental music, David Dibble and navi, to the songs written by, and a special shoutout (ahoy?), to goth folk duo Charming Disaster. Erik Teague and Alison Samantha Johnson’s costumes, especially Hexikalina the mermaid, are works of art, and Andrea “Dre” Moore has created the perfect props for this world.

    Front and center, bow and meridian, though are the puppets! The vast scope of puppetry in this show is stunning! There are hand puppets, rod puppets, 15-foot-tall balloon puppets that put their head in Dredgie’s lap, crankies, black light puppets, a hand-cranked, life-size mermaid tail (attached to a life-size and cranky mermaid), a puppet puppeting other puppets, smoke, and I’m sure there were more that I didn’t even realize. Staying for a Q&A after the show, I found out the cast are also doubling as the puppeteers and are having a great time being put through their puppeteer paces.

    Be sure not to miss this treasure chest of a show before it hoists anchor on June 20!

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

    Under the Sea with Dredgie McGee plays through June 20, 2022, at 1st Stage, 1524 Spring Hill Road, Tysons, VA. Tickets ($15–$50) are available for purchase online.

    Designed for ages 8 to adult.

    The Under the Sea with Dredgie McGee playbill is online here.

    COVID Safety: All 1st Stage staff, performers, and audience members are required to be masked at all times while in the theater. Proof of vaccination will be checked at the door.

    Under the Sea with Dredgie McGee
    Written and directed by Matthew Aldwin McGee
    Associate Director El Chelito

    Featuring
    Suzy Alden
    Linda Bard
    Natalie Cutcher
    Ezine Elele
    Lee Gerstenhaber
    Matthew Aldwin McGee
    Jacob Yeh

    Production & Design Team
    Set Design – Christa Noel Smith
    Costume Design – Erik Teague & Alison Samantha Johnson
    Lighting Design – Alberto Segarra
    Props Design – Andrea “Dre” Moore
    Sound Design/Original Composition – navi
    Stage Manager – Justine Morris
    Puppet Design – Matt-A-Magical
    Composer – David Dibble
    Assistant Stage Manager – Kaitlyn De Litta
    Song Writers – Charming Disaster

  • ‘Show Way the Musical’ at Kennedy Center sings of Black familial resilience

    ‘Show Way the Musical’ at Kennedy Center sings of Black familial resilience

    From slavery to the present, Show Way transforms Jacqueline Woodson’s children’s book about ancestral matrilineal history, hope, and freedom into a children’s musical. Commissioned by the Kennedy Center and making its world premiere, this show is chock full of wisdom, history, foot-stomping music, and choreography drawing from African American and West African dance traditions.

    Show Way the Musical tells the story of Soonie’s great grandmother, who at seven years old was sold from her family. Carrying a piece of muslin and red thread, Soonie’s great grandmother initiates the tradition of using cloth, thread, and the needle to create not only quilts and clothing but also as a medium for carrying on family memories. Through textiles, the family remains connected and transmits familial stories and history through subsequent generations. The moves from the 19th century to the present, highlighting salient moments in American and African American history.

    The Company of ‘Show Way the Musical.’ Photo by Kyle Schick for Elman Studio.

    The musical score by Tyrone L. Robinson, making his Kennedy Center composing debut,  with orchestrations by Wilkie Ferguson transforms the lyricism of Woodson’s poetry into songs delivered with a cast of strong vocalists. Taylor Williams’s electronic music design makes the sound hip and engaging. Tiffany Underwood Holmes leads the band and plays the keys behind the backdrop making the music sound as if it was prerecorded for the occasion.

    Theresa Cunningham and Avia Fields in ‘Show Way the Musical.’ Photo by Kyle Schick for Elman Studio.

    Playing the Edler Mother, Theresa Cunningham’s forceful and clear singing conveys the emotional trauma of having a child snatched from its mother. Yet the musical never goes dark; becoming bereft of joy is not what drives this story. The music is what keeps the headiness of selling a child away from its mother digestible.

    This tragedy, which occurs not once but twice in the musical, becomes subsumed in the joviality of the singing and dancing. What holds this intergenerational family of women together despite the tragedies and losses are memories, hope, and pride. Momentary relief from the pain of enslavement comes with the freedom song, which garnered wild audience applause with Cunningham, Danielle Lee Greaves (Griot), Avia Fields (Lil Bit), Angela Birchett (Mama), and Danyel Fulton (Auntie) delivering riveting harmonies.

    Emmanuel Elliot Key’s (Brother) death by gunfire, which takes place during the Civil War as his character—an enslaved man—fights for the North, exemplifies Key’s ability to convey realistic movement when falling dead from gunshot wounds.

    Likewise, Key’s maneuvers from buck dancing to the juba to the Charleston are as much about choreographer Tiffany Quinn’s vision of the diversity in African American dance genres as about highlighting salient moments in African American dance history. Quinn finds an apt conveyer of her vision in Key.

    Emmanuel Elliot Key and Danyel Fulton in ‘Show Way the Musical.’ Photo by Kyle Schick for Elman Studio.

    Scenic Designer Tony Cisek, Lighting Designer Kyle Grant, and Projection Designer Jeremy Bennett score a big win with the backdrop resembling a Faith Ringgold–like quilt with images of Woodson, her daughter, and six of their ancestors. The images first appear as silhouettes. Lighting reveals the features in each silhouette as the story of the ancestors unfolds. Projected onto the backdrop is a timeline of events, names, and iconography in African American history: the Great Migration, Jim Crow, redlining Emmett Till, Breonna Taylor, Black Lives Matter, and “I Can’t Breathe.”

    As much as the story of slavery and the plight of African Americans in the U.S. is wrought and curated often to minimize its horrors and trauma, this musical provides a cogent vehicle for initiating a conversation with children about American history and American slavery. Slavery in the U.S. is one of the most taboo of topics in conversation, but nonetheless one of the more written about tropes in the American literary canon.

    It helps to read Woodson’s book with beautiful illustrations by Hudson Talbott before seeing this show. Since cast members double as different characters and the playbill does not list all their roles, reading the book will help discern who the characters are as well as their names.

    Running Time: 48 minutes, with no intermission.

    Show Way the Musical runs from May 13 to May 29, 2022, Thursdays to Sundays at 1:30 p.m., 4:30 p.m., and 7:00 p.m., in the Family Theater at the Kennedy Center of the Performing Arts, 2700 F Street NW, Washington, DC. For tickets ($20), call the box office at (202) 467-4600, toll-free: (800) 444-1324, or go online.

    The program for Show Way the Musical is online here.

    This production is most enjoyed by ages 7 and up.

    COVID Safety: Masks are required for all patrons regardless of vaccination status inside all theaters during performances at the Kennedy Center unless actively eating or drinking. As of May 15, 2022, the Kennedy Center no longer requires vaccine verification to attend indoor events and performances. The Kennedy Center’s complete COVID Safety Plan is here.

  • NSO presents plays a symphonic spectacular for kids at Kennedy Center

    NSO presents plays a symphonic spectacular for kids at Kennedy Center

    The Kennedy Center National Symphony Orchestra Family Concerts are both educational and entertaining. They often feature additional experiences, like an Instrument Petting Zoo where young audience members can experience musical instruments and meet NSO musicians. This particular concert — Goldilocks and the Three Dinosaurs — paired two Kennedy Center Artists in Residence: Mo Willems and Ben Folds. In addition to the Instrument Petting Zoo, there was a small art exhibit of Mo Willems’ artwork inspired by Beethoven’s 9th Symphony. The entire afternoon at the Kennedy Center was a feast for the eyes, ears, and heart.

    The best-selling book Goldilocks and the Three Dinosaurs by Mo Willems was originally published in 2012. I was familiar with Willems’ work, but I knew it would be best to bring an expert with me to help me better understand the material. I invited Clara the 5-year-old Dinosaur Expert to help me write this review. (She also knows where the pigeon is hiding, so I knew I called the right person!)

    Montego Glover as Goldilocks with the NSO in ‘Goldilocks and the Three Dinosaurs.’ Photo by Jati Lindsay.

    The Symphonic Spectacular began with Conductor Enrico Lopez-Yañez walking out and shaking the hand of the concertmaster. Soon after, Narrator Evan Casey walked out as waves of giggles rolled through the audience — noticing the exaggerated tails of his formal attire. Casey shook the hand of Lopez-Yañez and then began the story: “Goldilocks and the three FOXES…” and the audience erupted with laughter. He tried again: “Goldilocks and the three pirates?” “Nooooo!” replied the audience. After a few more attempts (dramatically accompanied by the NSO), Lopez-Yañez mimed a Tyrannosaurus Rex motion and Casey proudly proclaimed: “Goldilocks and the three dinosaurs!,” which was met with loud cheers and enthusiasm. It was a pitch-perfect way to start the show.

    Papa Dinosaur (Andrew Ross Wynn) and Mama Dinosaur (Erika Rose) soon galumphed onto the stage, wearing formal attire, dinosaur claws, and enormous tails. Wynn and Rose were wonderfully animated and larger than life with their booming voices and characterizations. The Norwegian Dinosaur, played by Broadway’s Tony Yazbeck, was a fish out of water — having just arrived from Norway. His entrance was silly and memorable from upstage behind the NSO, interacting with musicians as he dragged his wheeled luggage to his place beside the other dinosaurs. Goldilocks was played by Broadway’s Montego Glover, dressed in a pink sparkly dress and with a mischievous twinkle in her eyes. Glover’s portrayal was equal parts Lucy Van Pelt and Little Red Riding Hood — confident, stubborn, and independent.

    Clara the Dinosaur Expert informed me that the story wasn’t about just any dinosaurs — they were based on real dinosaurs. “The orange one [Norwegian Dinosaur] was the Styracosaurus, Mommy was the Allosaurus ’cause her horns are under her hair, and the T-Rex is the Dad.” After showing me photos of the dinosaurs that inspired Willems’ characters, she stated, “They were dressed up wrong — it was just their regular clothes with tails and claws.” I told her that costume designer Erik Teague planned it like that because they were with the National Symphony Orchestra and wanted to look fancy. She said she liked Goldilocks’ dress the best, and how it moved around when she was “think think thinking.”

    Andrew Ross Wynn as Papa Dinosaur and Erika Rose as Mama Dinosaur with the NSO in ‘Goldilocks and the Three Dinosaurs.’ Photo by Jati Lindsay.

    Ben Fold’s accompanying compositions were perfectly paired with the moods and scenes of the story. I’m no dinosaur expert, but I did notice the leitmotifs in Fold’s compositions and thought they fit nicely with the characters. Clara particularly liked the “Think Think Think” piece as Goldilocks did more thinking than she ever had before. The staged story had a different ending than the book — and I wouldn’t want to spoil it for future young audiences. But I will reveal that the song at the end of the piece was performed beautifully by Yazbek and Glover. Some younger members of the audience did begin to lose focus during the ballad, but older audience members enjoyed the clever wordplay and introspection.

    Montego Glover as Goldilocks and Evan Casey as narrator with the NSO in ‘Goldilocks and the Three Dinosaurs.’ Photo by Jati Lindsay.

    Mo Willems and Ben Folds joined the cast and orchestra for a bow after the story. Conductor Lopez-Yañez then led the NSO in two interactive pieces: Juba Dance by Florence Price and The Block by Carlos Simon. Ben Folds returned to the stage to introduce his final piece: The Show Is Over-Ture. He shared that when he was younger, he wanted to play percussion — specifically a timpani. When he soon learned that he wasn’t very good at timpani, he decided to keep trying other ways to make music — eventually leading to the percussive piano playing that he is known for today. He joined the NSO percussion section for the piece entitled, The Show Is Over-Ture, in an unforgettable performance of determination.

    I asked Clara the Dinosaur Expert what her favorite part of the experience was. She responded without hesitation: “Everything. I liked all of the parts.” You don’t have to be a dinosaur expert to like all of the parts that made this possible: Mo Willems, Ben Folds, The National Symphony Orchestra, and The Kennedy Center for the Performing Arts.

    To learn more about Ben Folds and Mo Willems’ creative processes, I recommend starting with this episode of Ben’s podcast, “Lightning Bugs: Conversations with Ben Folds” featuring Mo Willems.

    Running Time:

    Goldilocks and the Three Dinosaurs performed on April 30, 2022, in the Concert Hall at The Kennedy Center, 2700 F Street NW, Washington, DC.

    The Goldilocks and the Three Dinosaurs program is online here, and there is a Goldilocks and the Three Dinosaurs Learning Guide here.

    COVID Safety: Proof of full vaccination against COVID-19 is required to attend all indoor performances and events at the Kennedy Center through May 14. As of May 15, the Kennedy Center will no longer require vaccine verification; however, masks will still be required for all patrons, regardless of vaccination status, inside all theaters during performances at the Center unless actively eating or drinking. Kennedy Center’s complete COVID safety policy is here.

    CAST AND CREATIVE TEAM

    Mo Willems, author, director
    Ben Folds, composer
    Enrico Lopez-Yañez, conductor

    Montego Glover, Goldilocks
    Tony Yazbeck, Norwegian Dinosaur
    Andrew Ross Wynn, Papa Dinosaur
    Erika Rose, Mama Dinosaur
    Evan Casey, narrator
    Justine Icy Moral, understudy
    Benjamin Lurye, understudy

    Megan Alrutz, dramaturg
    Erik Teague, costume designer
    AJ Guban, lighting designer
    Julia Singer    , stage manager
    Kyla S. Mermejo-Varga, assistant stage manager

  • The Puppet Co. gets edgy with ‘Fantastic Tale of Rumpelstiltskin’     

    The Puppet Co. gets edgy with ‘Fantastic Tale of Rumpelstiltskin’     

    What is “a premiere production of The Fantastic Tale of Rumpelstiltskin” when everybody knows the story? The Puppet Co. shows how you can breathe new life into even the best-known tales to bring smiles and chuckles all over again.

    You can tell you’re in fresh new territory when a sweet narrator bunny rabbit emerges on the scene, admires the glory of the morning, and gets mugged by a fluttering butterfly.  Welcome to fractured fairy tales with an edge — this is not your mama’s Rumpelstiltskin.

    The contemporary-minded characters written by award-winner Stoph Scheer have an urban-tilted worldview. Nothing will stop them from getting what they want: step out of the way or get rolled over.

    Kelcie Hopkins as Wendell and Danny Pushkin as The Dragon in ‘The Fantastic Tale of Rumplestiltskin.’ Photo by Ebie Prideaux.

    The daisy-loving bunny is preciously full of optimism. No matter how many times he gets knocked down, runs into a door, or even gets smashed in the head with a hatchet — yes, the show goes there — he pops back up and keeps trucking, Punch and Judy style.

    The rabbit sets the scene for the story to begin with the beautiful daughter of a hardy miller. She has a mind of her own when it comes to making life choices. At least she would if she wasn’t under the King’s command to perform an impossible feat — spin hay into gold, an outrageous lie that her father blurted out that she could do for some insane reason. She’s abducted from her home and thrown into a dungeon, complete with hilarious guardsmen and fun set design with sound effects of multiple locks making sure she stays put.

    Kelcie Hopkins as Stephanie and Kristina Hopkins as Gretchen in ‘The Fantastic Tale of Rumplestiltskin.’ Photo by Ebie Prideaux.

    It’s here where the story gets unusually dark. Warning –the beautiful damsel is threatened with not just the prospect of death if she doesn’t fulfill the task, but actual beheading. Not only is a talking skeleton chained to the wall loosely headed, but the King carries a hatchet jauntily on his morning visits to see if she’s produced the goods — or else.

    Once we’re past the shock and awe of murderous, ax-wielding puppets, then we can actually enjoy the antics of the bouncy sprite creature who helps the girl out of her jam. He floats and sputters around and the bags of hay flip over to mounds of shiny gold. The catch in this new retelling is that the creature feels so tricked and frustrated when the damsel says his name, Rumpelstiltskin, that he creates another even more convoluted one that she has to discover in order to save the baby he swiped from her as part of the bargain to help her survive.

    The writing is edgy and there are tongue-in-cheek gags and jokes all along the way. Seeing a beautiful brown-toned puppet as the main character was a first for me, and it was refreshing hearing her refuse to marry a man who mistreated her just because he was a King! She held out for as long as she could but the story prevailed and off they went. Still that smack-down resistance would always be there, even in puppet land.

    The puppeteers of ‘The Fantastic Tale of Rumplestiltskin’: Danny Pushkin as The Creature and others, Kristina Hopkins as Gretchen, Bridgid Wallace as The King and others, Kelcie Hopkins as Wendell and others. Not pictured: Katie Rey Bogdan as Understudy (Wendell, The King, and others). Photo by Ebie Prideaux.

    The Puppet Co. describes itself as presenting “A world of endless possibilities on the end of a string,” and the new ensemble delivers in spades. For those of us who adored the work of the early “founders” Allan Stevens and Christopher and Mayfield Piper over the years, we can rest assured that their puppet legacy is in good hands. In a world where technology often trumps imagination and leaves little time for make-believe ideas, it’s good to know that the Puppet Co is alive and well, and still pulling great strings.

    Running Time: Approximately 50 minutes with no intermission.

    Recommended for ages 4+.

    The Fantastic Tale of Rumpelstiltskin     plays through May 22, 2022—Thursdays and Fridays at 10:30 am, Saturdays and Sundays at 11:30 am and 1 pm—at the Puppet Co. Playhouse, Glen Echo Park, 7300 MacArthur Boulevard, Glen Echo, MD. Tickets ($15) are available online. (No ticket required for under age 2, but please call Box Office to reserve a free ticket.) For information call 301-634-5380 or email Box.Office@thepuppetco.org.

    May 1 at 11:30 am will have ASL interpretation.
    May 15 at 1 pm will be a Sensory Friendly performance.

    COVID Safety: At this time, the Puppet Co. is reevaluating Covid safety policies monthly. Until at least April 30, all patrons over the age of 5 need to show proof of vaccination for admission. All those over the age of 2 are required to mask inside at all times.

    The Fantastic Tale of Rumpelstiltskin
    Adapted from the Brothers Grimm Fairy Tales, by Stoph Scheer
    Directed by Liz Dapo
    Featuring: Kristina Hopkins, Kelcie Kosberg, Danny Pushkin, Brigid Wallace, Katie Rey Bogdan, with special guest appearances by Liz Dapo
    Lighting and Sound Designer: Liz Dapo
    Master Electrician: Martha Mountain
    Sound System Designer: Ien DeNio
    Scenic Design: Liz Dapo
    Puppet Design: Liz Dapo
    Puppet Build: Dre Moore
    Costume Design: Autumn Rekus

  • At Traveling Players, teen actors find pandemic relief in ancient Greeks

    At Traveling Players, teen actors find pandemic relief in ancient Greeks

    By Jeanne Harrison, founder and producing artistic director, Traveling Players

    It’s actually super fun to do a fight play. Fight scenes are the opposite of real violence: pieces of choreography that you rehearse like a dance with safety checks, trust, and close partner work. The victim is in charge. When done right, fight scenes allow actors and audiences to experience a violent action and all of its implications knowing that everyone is actually safe. At the end of a fight play, the victim and aggressor clasp hands and take a bow. It can be incredibly healing, cathartic, and educational for both the performers and the audience.

    Photo of Traveling Players’ students by Jessica Wallace/Great Depth Media.

    The ancient Greeks believed in the healing power of theater — it’s why they made attending theater a mandatory part of citizenship. Twice a year they held the Festival Dionysia, a ritual honoring the god of theater and wine, Dionysus. At the center of the festival was a playwriting competition. The rockstars of the day would submit tragedies about the downfall of great, heroic families. By witnessing their trials and follies, the audience would discover the pitfalls of being human and the traps we all succumb to. They would walk away wiser, perhaps able to forgive themselves, maybe even healed.

    After two years of pandemic uncertainty, and with new conflicts brewing, our students needed a Dionysian Festival.

    Ancient Greek myths tell epic stories and require a level of emotional commitment that is not typically asked of teenage actors. And yet, in some ways, it is teenagers — with their heightened emotions — who are best equipped to tell these narratives. In the wake of the pandemic, teenagers are grappling with the sorrow of all that they lost and the anger of not getting those experiences back. As the founder of Traveling Players, an educational company for children and teens, I started to wonder: What if we could channel that frustration? and release some of it?

    Photos of Traveling Players’ students by Jessica Wallace/Great Depth Media.

    After two years of classes taught on Zoom, and rent paid on a brand new studio that we were able to use for only two months before COVID closed it down, it only seemed right that the Traveling Players’ rebirth harkened back to theater’s birth — we would stage our very own Dionysian Festival.

    As an educational theater company, our season selection always begins by asking what our students need. We want our plays to be engaging for our audiences, but to give our students appropriate, meaningful challenges. Allowing for maximum growth as performers and individuals is paramount. We want developing actors to engage with stories worthy of their imaginations.

    For our youngest actors, in grades 4–7, we commissioned a play called Ariadne’s Thread by playwright Judith Walsh White, an exceptional playwright for young audiences and actors. Our oldest students (in grades 9–12) took on the ethically complicated tale of Euripedes’ Hecuba translated impeccably by Kenneth McLeish. Hecuba shows the emotional toll of war, investigating the cycles of violence that play out between people, generations, and nations — and especially the effects on women and children. If you’re a theater buff, this play is gold — it’s the violent combo of Medea and Oedipus, yet nobody knows the story, so they never see it coming. (Casey Kaleba, DC’s formidable fight choreographer and our collaborator since 2006, was eager to join our design team, remarking that he rarely gets to work on a good, bloody ancient Greek tragedy.)

    Hecuba follows the sad tale of Trojan Queen Hecuba, beginning just after the Trojan War has ended. After 10 long years, the victorious Greeks will sail home with their war booty — which includes the women of Troy as their new possessions. Hecuba must endure the murder/blood-sacrifice of her daughter, then discover that her son was murdered by a neighboring King, a supposed ally. As she is wracked with despair, with nothing else to lose, the play becomes a cathartic revenge tragedy. Hecuba and the Trojan women blind the King who killed her son, then kill his two sons. The play ends as Hecuba and the remaining women prepare to leave their homes in Troy, now with blood on their hands, to begin a life of slavery in Greece.

    “It’s fate. It’s hard,” says the Chorus as the play ends.

    Photos of Traveling Players’ students by Jessica Wallace/Great Depth Media.

    Like the pandemic, the violence in Hecuba is inescapable. While the Greeks traditionally kept the violence offstage, only described by witnesses and victims, I felt it was important (and more fun) to bring it onstage. This gave our students a chance to work really physically and collaboratively, with deep trust in their stage partners — the essence of ensemble theater.

    To help audiences and the actors grapple with these difficult and emotionally fraught themes, we invited our friend American University Professor Barbara Wien to lead a post-show discussion. Professor Wien has worked to end human rights abuses, violence, and war. She is a practitioner-scholar with extensive knowledge of sustainable peace agreements and best practices in ending gender-based violence. Her many credits include working for the U.S. Institute for Peace and leading V-Day, the organization founded by Tony Award–winning actor and playwright V (formerly Eve Ensler) to end violence against women.

    The Bronze era Greeks believed in “revenge justice,” where you enact the same level of pain against your aggressor that they enacted upon you. In discussing this concept with our students as it related to the themes of the play, one young performer, Silas Frickert, 14, summed it up sagely: “Hurt people will hurt people,” he said.

    But there is no revenge justice to be had against a natural disaster like a pandemic. By trusting their castmates and this ancient story, our students took a leap of faith, channeled their grief, and released it into their performances. They began to heal. And they found joy in the fake (and often bloody) violence of the plays. They relished the chance to be physical again, and took on new artistic challenges (including puppetry, mask, and dance on top of stage combat) with focus and alacrity.

    Our students needed to be in bloody good plays that scared them, excited them, and required them to push the boundaries of their skills. They needed to escape into someone else’s pain to be released from their own.

    That is the catharsis of a Dionysian Festival, for performers and audience alike.

    About the Festival
    Traveling Players Dionysian Festival ran March 12–20, 2022. The festival was led by Jeanne Harrison, Traveling Players’ founder and artistic director, who also directed Hecuba. She received ArtsFairfax’s 2016 Strass Award for her integration of physical and classical theater. Previously a dancer-choreographer, she has led workshops on directing a Greek chorus for the American Alliance for Theater & Education as well as universities.

    About Traveling Players:
    Recognized by the National Endowment for the Arts as “1 of 25 Summer Schools for the Arts,” Traveling Players trains students in grades 3–12. Students who are interested in getting involved can join classes year-round at Traveling Players’ studio in Tysons Corner Center, or over the summer at their residential camps and conservatory programs.

    Auditions are now open for summer 2022 programs. Spring classes are now open for registration. For more information visit travelingplayers.org.

    Jeanne E. Harrison

    Jeanne E. Harrison (she/her) is the founder and producing artistic director of Traveling Players Ensemble and directs the summer’s Shakespeare Troupe and the winter Shakespeare in Performance class. She holds an MFA in directing from Catholic University, an MA in Theatre and Drama from the University of Wisconsin-Madison, and a BA in English from Macalester College. She has taught theater for The Folger Shakespeare Library, John Moores University (England), University of Maryland-Baltimore County, Catholic University and The Chapin School. She was a visiting artist at Loyola University in Baltimore. 

  • Three teen sisters seek ancestral power in dynamic ‘Beastgirl’ at KenCen

    Three teen sisters seek ancestral power in dynamic ‘Beastgirl’ at KenCen

    Beastgirl at the Kennedy Center’s fabulous REACH shows the power of rituals to empower a fresh new generation. Just when you thought youngsters are hopelessly stuck in their digital this and screen that, a dynamic new script has a trio of sisters with roots in the Dominican Republic, or “DR in NYC,” bust a move and rock the house, calling up ancestors without a digital device in sight — just a journal filled with actual handwritten pages of thoughts and remembrances. This world premiere for young adults with book by C. Quintana is adapted from the chapbook Beastgirl and Other Origin Myths by bestselling author Elizabeth Acevedo. The premise “considers what it means to walk the world as ‘beastly’ beings and how the myths that make us can be both blessing and birthright.”

    Gathered on a rooftop in a New York barrio, the sisters emotionally evolve right before our eyes as they share their take on life. The actors portray playful young teens seeking the presence, comfort, and wisdom of their mom with total commitment and just the right amount of verve.

    Jenni Gil (Cami), Edima Essien(Èji), and Mikaela Secada (Heketi) in ‘Beastgirl.’ Photo by Yassine El Mansouri.

    The fun-filled choreography by Tiffany Quinn unites them into a solid threesome: Jenni Gil plays Cami, who seems to be the older one, keeper of the treasured journal and guiding with gentle nudges. Mikaela Secada’s Heketi is a whirling wonder with energy galore and luscious charisma, and she can get so excited, she’ll stand precipitously on the ledge and even tip-toe across when her big sis isn’t looking. Èji played by Edima Essien is a quiet storm, sure-footed, reliable, and ready to pounce to protect as needed. The simple melodies have an appealing improvised style as if they’re made up on the spot, adding to the playful wonder of being in the moment.

    The sisters are convinced that with the right combination of belief and incense, incantation, and even a bit of salt sprinkled around for good luck, they can call up ancestors to join them. The music pops the beat and the terrific dance moves could conjure up the most resistant ancestors. The thing about conjuring up spirits is you might need to be prepared for when they show up. That’s what happens under the watchful eye of director Rebecca Aparicio, who builds the suspense with just enough tension; then before you know it, bam, you’re in a brand new reality. Exquisite lighting by Alberto Segarra shows the spirit woman backlit periodically silhouetted, hinting that she is near, and even jamming to funk-filled Latin beats thanks to the smoking-hot sound design by Delaney Bray. When the spirit guide ancestor Egun played winsomely by Brittani McNeill shows up, her powerhouse voice thrills and chills to the core. Beautifully attired in shimmering silver-gold and sparkling crown, terrific costumes by Kenann Quander, she exudes wonderment as she offers tips for the girls to stay on the path of integrity, care, and loving-kindness.

    The sisters love each other dearly while squabbling and fussing like sisters do. They also take up periodic breathing exercises to help diffuse the tension and bring the audience into the communal experience.

    Brittani McNeill (Egun) in ‘Beastgirl.’ Photo by Yassine El Mansouri.

    Along the way to channeling their loved ones for solace and comfort, they realize that the strength they craved came as much from their own united efforts as from an otherworldly specific entity. The show has them discovering and appreciating aspects of themselves, claiming their inner strengths, and each identifying her specific attribute and calling out names for themselves — “Brave,” “Ready,” and “Unstoppable.” Words matter! In their songs and movement routines, they exude the traits that they extol — love, joy, and possibility.

    Judging from the exuberant standing O the night I attended, Beastgirl is a crowd pleaser and a reminder that there is nothing like in-person theater to share and lift the spirits —together. I left the show calmed from cleansing breaths and convinced that the performing arts are coming back in full swing. I’m thinking no matter the age or gender, we can all be honorary Beastgirls!

    Jenni Gil (Cami), Mikaela Secada (Heketi), and Edima Essien(Èji) in ‘Beastgirl.’ Photo by Yassine El Mansouri.

    If you haven’t been out much, now is a perfect time to get back into the theater scene to enjoy a terrific show at the REACH, an incredible addition to the Kennedy Center, and a timely way to appreciate the Center’s 50th anniversary.

    Running Time: 70 minutes with no intermission.

    Beastgirl plays through April 27, 2022, in Studio K of the REACH at the Kennedy Center, 2700 F Street NW, Washington, DC. For tickets ($20), call (202) 467-4600 or go online.

    The Beastgirl program is online here.

    Most enjoyed by ages 12+.

    COVID Safety: Proof of full vaccination against COVID-19 is required to attend all indoor performances and events at the Kennedy Center. All patrons over the age of 2 must wear a mask during the performance. Kennedy Center’s complete COVID Safety Plan is here.

    Beastgirl
    Book by C. Quintana
    Adapted from the Chapbook by Elizabeth Acevedo
    Directed by Rebecca Aparicio
    Music by Janelle Lawrence
    Featuring: Jenni Gil, Edima Essien, Brittani McNeill, Mikaela Secada
    Music Director: Amy Bormet
    Choreographer: Tiffany Quinn
    Costume Design: Kenann Quander
    Lighting Designer: Alberto Segarra
    Sound Designer: Delaney Bray
    Scenic Design: Misha Kachman
    Stage Manager: Leah V. Pye

  • A kooky ‘Mother Goose’ charms the kids at Imagination Stage

    A kooky ‘Mother Goose’ charms the kids at Imagination Stage

    Mother Goose is 400 years old, or maybe even 500, performing artist Ian Charles tells us in Imagination Stage’s Mother Goose. Despite the character’s alleged age, and hence, the age of the nursery rhymes themselves, Kathryn Chase Bryer and Janet Stanford’s Mother Goose is certainly not old-fashioned. In this production, Mother Goose herself is an ethereal, steampunk-styled lady who takes the audience through a silly, laugh-out-loud version of her “typical day.” The music, by Music Director Debbie Jacobsen, is familiar but occasionally infused with a hip-hop rhythm. The beloved characters are there, as puppets — the little lamb, the itsy-bitsy spider, the three little kittens, and the mouse who runs up a clock — yet we feel as though we’re getting a behind-the-scenes look at Mother Goose’s daily chores. I couldn’t help but imagine she is channeling burned-out, pandemic-exhausted parents around the world as she distractedly goes through the motions, making errors and causing mix-ups along the way. The children in the audience find this hilarious, while I (and I can only imagine, the other adults) knowingly nod our heads.

    Ian Charles and Toni Rae Salmi in ‘Mother Goose.’ Photo by Noe Todorovich.

    This show, like many of Imagination Stage’s productions, is interactive and able to hold the attention of the youngest theatergoers. Upon entering, each child is given a prop bag, which they eagerly use when Mother Goose is in times of need during the performance. Audience members are encouraged to sing, meow, and respond to the two actors frequently. The experience is also enhanced by age-appropriate sound effects from Sound Designer Gordon Nimm-Smith.

    Ian Charles in ‘Mother Goose.’ Photo by Noe Todorovich.

    Throughout the musical, the set and props are stars of the show in their own right, thanks to clever execution by Set Designer Giorgos Tsappas, Props/Puppet Designer Matthew Pauli, and Lighting Designer Jonathan Alexander. A large box on wheels rotates often, delighting us, and the creative use of shadows lends an enchanting, magical feel to the experience. Mother Goose has a particularly wondrous ending that is not to be missed!

    The interactivity makes Mother Goose engaging for the young audience members, as does the humor. There is even a moment or two with more grown-up humor thrown in, which helps the adult companions enjoy it as well.

    The two actors, who are on stage the entire show, are likable and fun to watch. Ian Charles, who does the puppetry and leads us through the story, has a lyrical and graceful way of moving around the stage; his presence is comforting and commanding at the same time. Toni Rae Salmi, as Mother Goose, reminds me of a quirky teacher or camp counselor in her role as the weary but warmhearted woman in charge.

    Toni Rae Salmi in ‘Mother Goose.’ Photo by Noe Todorovich.

    If you are looking for a whimsical way to spend a morning with a young one, Mother Goose is an excellent choice. It’s not always easy to find an appropriate opportunity for the youngest children to experience theater. With its slightly kooky, charming, and modern take on centuries-old nursery rhymes, you will marvel at your child’s sense of wonder and enjoyment. Perhaps you will even come away with a newfound appreciation of the hard-working Mother Goose.

    Running Time: 45 minutes, with no intermission.

    Best for children 1 to 5

    Mother Goose plays through April 10, 2022, at Imagination Stage’s Reeve Theater at 4908 Auburn Avenue in Bethesda, MD. For tickets ($12), call the box office at 301-280-1660 or purchase them online.

    COVID Safety: Ticket holders ages 5 and older must provide proof of COVID-19 vaccination and, for ages 18 and older, photo ID for all performances. Patrons aged 2 and up are required to wear masks while in theaters. Wearing masks in the lobby/gallery is optional. Imagination Stage’s complete COVID-19 Safety Precautions are here.

  • Imagination Stage has a fun hit in funky and fresh ‘P. Nokio’

    Imagination Stage has a fun hit in funky and fresh ‘P. Nokio’

    Hopping and jiving in Imagination Stage’s performance space right now is P. Nokio, a hip-hop–imbued reimagining of the classic tale of Pinocchio. This engaging show was originally commissioned in 2012 and came out to rave reviews. P.Nokio is one of three commissioned works from Psalmayene 24 (Psalm) that make up his Children’s Hip-Hop Trilogy. Zomo Rabbit: A Hip-Hop Creation Myth and Cinderella: The Remix complete the trilogy, lauded with multiple grants and two Helen Hayes Award nominations.

    Psalm wrote the book and lyrics for P.Nokio, with music by Nick “the 1da” Hernandez. The theme stays true to the classic with lessons of honesty, responsibility, consequence, and sacrifice. Carlo Collodi’s original Pinocchio, first published in 1883, has always been viewed as one of the deeper and harsher children’s stories, even after Disney turned it into a fairytale. But Psalm and Hernandez give the old story an upgrade to the 21st century with sick beats, fresh rhymes, and a technologic reboot.

    Tre’mon Kentrell Mills as P.Nokio, and Frank Britton as G.Petto in ‘P.Nokio: a Hip-Hop Musical.’ Photo by Margot Schulman.

    G.Petto, played by Frank Britton, is a lonely, hardworking designer in the land of Hip-Hopia. He has been crafting a new, remarkably realistic game character, P.Nokio, his pride and joy, to present to his boss, the Machine Master, played by Shubhangi Kuchibhotla. And yes the Machine Master is as dubious as she sounds.

    But the gracefully gritty Graffiti Fairy (Alana Sherri) has other plans in mind and plucks P.Nokio (Tre’mon Kentrell Mills) from the computer screen and into real life. G.Petto, despite the loss of his prized work and the threat of losing his job, is overjoyed to have a son and playfully raps about all the amazing things he’s going to teach P.Nokio, with a call-and-response chorus, “When I Say Father You Say Son,” that hypes the audience, encouraging the kids to sing out.

    There are many such interactions, where the actors reach to the audience for reactions, a fun and effective way to keep the young theatergoers actively engaged, while also releasing some of the antsy energy little kids store up while sitting through a show.

    Graffiti Fairy (Alana Sherri) looks out for P.Nokio (Tre’mon Kentrell Mills) in ‘P.Nokio: a Hip-Hop Musical.’ Photo by Margot Schulman.

    P.Nokia discovers that living in the real world is much more complicated than the 2-D realm. He isn’t a puppet as in the original. He’s a digital boy, and quickly learns that what is bad for electronics is also bad for him (read: water makes him glitch). 

    But there are also temptations he has never seen before. As in the classic, P.Nokio ventures off to school, money entrusted from G.Petto in hand, but strays from the path and meets the deceitful Fox (Brendon Schaefer) and Cat (Shubhangi Kuchibhotla), who time and again attempt to trick naive P.Nokio to get his coins. 

    P.Nokio (Tre’mon Kentrell Mills) falls under the influence of Fox (Brendon Schaefer) and Cat (Shubhangi Kuchibhotla) in ‘P.Nokio: a Hip-Hop Musical.’ Photo by Margot Schulman.

    Despite the good faith of G.Petto and guidance from the feisty Graffiti Fairy, P.Nokio always finds himself in trouble. But that is part of the fundamental lessons of the tale. Life can be hard and we often do the wrong things. Yet, it is how we react and grow in those failings that truly shape who we are.

    Director and Choreographer Tony Thomas has done an excellent job weaving in free and funky moves that blur the lines between blocking and dancing, as the show floats freely from scene to scene. The cast is small but mighty indeed and a treat to watch, solidly executing the movement and rapping with flair.

    Brendon Schaefer, Tre’mon Kentrell Mills, and Alana Sherri in ‘P.Nokio: a Hip-Hop Musical.’ Photo by Margot Schulman.

    Imagination Stage’s remount of P.Nokio is as fun and new as the first time around. The show is wonderfully engaging for the kids, and a hit with parents as well, with originality in the execution of such a well-known fairy tale.

    P.Nokio puts a modern face on an old tale, with a killer hip-hop soundtrack and wicked dance moves, and inspires the audience to get up and dance. But, more important, to always do your best. And when that doesn’t work, look to the ones who love you. And then dig in and do better.

    Running Time: Approximately 90 minutes, with no intermission.

    P.Nokio: A Hip-Hop Musical runs through March 27, 2022, at Imagination Stage, located at 4908 Auburn Ave, Bethesda, MD. For tickets ($28), call the box office at 301-280-6060 or purchase online. Best for ages 5 to 11.

    COVID Safety: Ticket holders ages 5 and older must provide proof of COVID-19 vaccination and, for ages 18 and older, photo ID for all performances. All patrons are required to wear masks while in the building. Imagination Stage’s complete COVID-19 Safety Precautions are here.

    P.Nokio: A Hip-Hop Musical
    Book and Lyrics by Psalmayene 24
    Music by Nick “tha 1da” Hernandez
    Directed and Choreographed by Tony Thomas

    Cast: Frank Britton (G. Petto/Honeycage/Traveler #1),  Shubhangi Kuchibhotla (Machine Master/Cat/Skelly/ Traveler #2), Tre’mon Kentrell Mills (P.Nokio), Brendon Schaefer (Crony/Fox/Fork),  Alana Sherri (Graffiti Fairy/Dance Captain)

    Creative Team: Janet Stanford (Producing Artistic Director), Nick Hernandez (Music Director), Shartoya Jn.Baptiste (Scenic Designer), Ashlynne Ludwig (Costume Designer), Max Doolittle ( Lighting Designer), Justin Schmitz ( Sound Designer), Jerran Kowalski (Projections Designer), Holden Gunster (Props Designer/Builder), Becky Reed (Stage Manager) 

    P.Nokio Production Staff: David Singleton (Assistant Choreographer), Helen Huang (UMD Mentor, Costume Design), Mikhail Kachman and Dan Conway (UMD Mentor, Scenic Design), Jared Mezzocchi (UMD Mentor, Projection Design), Carolyn Hampton (Cover Scenic Charge Artist), Mia DuVall (Costume Fabric Artist), Hannah Herold (Wardrobe Crew), Jessica Hagy (PA/Deck Captain/Covid Safety Manager), Darlene Richardson and Kaitlyn Sapp (Sound Engineers)

    Imagination Stage Production Staff: Laura Sperling (Production Manager), Ren Brault (Interim Technical Director), Bethany Regalbuto (Master Electrician), Anna Klinger (Costume Shop Manager)

  • Catchy and fun ‘Make Way for Ducklings’ premieres at Adventure Theatre

    Catchy and fun ‘Make Way for Ducklings’ premieres at Adventure Theatre

    Adventure Theatre & ATMTC Academy presents the world premiere of Make Way for Ducklings, based on the book by Robert McCloskey and adapted for the stage by Sandra B. Eskin and Michael J. Bobbitt. This musical follows a family of ducks as they search the Boston area for a safe and suitable home, and experience adventures along the way! Directed and choreographed by Ashleigh King, and with musical direction by Ben Lurye, this show is a great way to welcome in springtime with your family.

    Ben Ribler and Graciela Rey as Mr. and Mrs. Mallard in ‘Make Way for Ducklings.’ Photo by Ryan Maxwell Photography.

    Scenic Designer Sarah Beth Hall turns the stage into the Boston Public Garden, lush with greenery and a peaceful, shimmering pond. Dappled lighting by Paul Callahan and effects by Sound Designer Tosin Olufolabi complete the warm, welcoming atmosphere of springtime (a sight I’m sure a lot of us miss!), and projections by Zavier Taylor add a fun technical element to the show that helps drive the plot. It’s here that we meet Officer Mike (Jordan De La Moral), who is quick to write a ticket for anyone who dares to make noise in his beloved park (no one is safe, including the audience!). When Mr. and Mrs. Mallard (Ben Ribler and Graciela Rey) fly in and discuss (loudly!) building a nest for their growing family, an annoyed Officer Mike urges them to look elsewhere.

    As the story develops, a nestful of ducklings join their parents, and with them comes excitement, joy…and an overwhelming responsibility that the couple sings about in a number parents will appreciate (“No Complaints/No Escape”). Music and lyrics are by William Yanesh, and the songs are lively and fun, whether they are learning to swim (“How to Be a Duck”) or forging a rough river (“Hey Ho”). Children in the audience enjoyed watching the curious group of ducklings explore the busy world around them, and the actors all do a great job making their characters stand out. While one duckling is strong, boastful, and brave (Joshua Street as Jack), another is nervous and shy (Alice Squeglia as Lack). Taylor Witt gets a lot of laughs from the audience as Pack, who is (and there really is no better way to put it) a total nerd. Lastly, we have Quack (Rebecca Ballinger), who is lovable but loony, eventually inspiring one of the ducklings to shout, “Can we get a different sibling? Quack is broken.”

    Graciela Rey, Ben Ribler, Joshua Street, Alice Squeglia, Taylor Witt, and Rebecca Ballinger in ‘Make Way for Ducklings.’ Photo by Ryan Maxwell Photography.

    While relocating to a bigger nest, Mr. and Mrs. Mallard teach the ducklings important lessons (“Follow My Example”), strive to keep them safe….and they also argue. A lot. The couple doesn’t notice anything harmful about their behavior until they see it mirrored in their children, making them realize that kids learn more by what you are, not what you teach. Everyone strives to learn how to disagree respectfully and improve their communication skills, which is a great lesson for any children’s show to highlight.

    Adventure Theatre & ATMTC Academy’s Make Way for Ducklings is light, catchy, and fun, with several song-and-dance numbers that the whole family can enjoy together. Can’t wait much longer for springtime? Catch a showing with your family and welcome the season a little early!

    Running Time: 65 minutes, without an intermission.

    Make Way for Ducklings plays through March 27, 2022, at Adventure Theatre & ATMTC Academy – 7300 MacArthur Blvd, Glen Echo, MD. For tickets ($25), call 301-634-2270 or purchase them online.

    COVID Safety: Adventure Theatre requires everyone over the age of two years old attending its shows to wear a mask and remain masked while in its facility. Proof of vaccination will be required for admission for all individuals ages 12 and up.

  • Director Cara Gabriel on the magic and joy of ‘Winterfest’ at Adventure Theatre

    Director Cara Gabriel on the magic and joy of ‘Winterfest’ at Adventure Theatre

    Adventure Theatre MTC is celebrating its 70th season and to commemorate this milestone has produced Winterfest for the holidays. The production features three multicultural shows, each celebrating the love and joy the season brings: “Uri & Ora Light the Menorah” by Robyn Shrater Seemann, “Connection” by Diego Maramba & Michelle Bowen-Ziecheck, and “Cranky Penguin” by Keegan Patterson. Cara Gabriel — DC-based director, writer, educator, and performer — served as director for the trio.

    This is a world premiere for all three shows, commissioned by Adventure Theatre, and in order to get some insight on the thought process and desired effect of the entire production, I reached out to Gabriel with some questions:

    Cara Gabriel

    Doing three shows in one isn’t very common. Do the stories connect in any way?

    Cara Gabriel: The three shows take us on a sort of chronological journey through the holiday season. The first piece takes place during Chanukah, the second piece takes place at Christmas, and the third piece takes place on New Year’s Eve. So it really does carry us through the holiday season, and I think most people will be able to find something in one of the three shows that they can find joy and meaning in.

    Was there any special meaning in these new shows in particular?

    It is not lost on me that these three shows were born of pandemic times — a time when collectively, as a society, we were all yearning to connect to each other in any way possible. Seeking ways to overcome our collective isolation. The second play in the roster is even called “Connection.” And each of the three plays focuses on the need for connection and the various means to make such connections. Some of the pieces are focusing on connecting with one’s culture, some seek to connect with our ancestral past, some seek to connect with the future, or future generations, some seek a more spiritual type of connection, but mostly they are all focused on the ways in which we struggle to connect with other beings in the here and now, despite a multitude of obstacles — be they literal, metaphorical, or metaphysical.

    Emily Gilson, Sophie Schulman, Sally Imbriano, and Linda Bard in ‘Uri and Ora Light the Menorah.’ Photo courtesy of Adventure Theatre.

    What was your goal and focus while directing these shows?

    I wanted to make sure we focused on the following elements, in order to emphasize the theme of connection:

    • MAGIC AND MIRACLES — Each play has an emphasis on the miraculous, or something magical. I wanted to make sure we found the magic in each of the three shows and conveyed the miraculous to our audiences. That said, what I think we sometimes forget is that magic and miracles begin with us. Begin with our own humanity. So I wanted to make sure that the audience felt a part of that magic, that they were able to help create the magic with the production. There is a sort of paper doll projector element to the show, but rather than making it seem like those projections come from some sort of iCloud in the sky, I wanted to expose the mechanics of that magic for the audience. The audience can actually see the actors manipulating the paper dolls, and then see the magic of the way those dolls are projected onscreen.

    Andrew Quilpa and Sally Imbriano in ‘Connection.’ Photo courtesy of Adventure Theatre.

    • AUDIENCE PARTICIPATION — While there is a “screen” element to our show with the projections, I wanted to make sure that the shows were first and foremost very human. Our kids have been on screens 24/7 for the past two years, and I wanted to make sure we involved them live and in person whenever we could. I don’t want us to forget about the magic of live theater. So the actors speak directly to the audience, and the audience has an opportunity to interact with the events on stage. I wanted to emphasize the immediacy of theater. The live and living nature of it.

    • HUMOR — My goodness, we all need to laugh. We need to breathe. We need to have a shared experience that is something other than trauma and pandemic. So I wanted to create a space for laughter, for the community that comes with laughing together. These shows aren’t all funny, in fact, some of them are downright tear-jerkers at times, but each show has moments of levity and joy. I want us to remember what joy feels like.

    On a personal note, do you generally enjoy the holidays?

    I do!

    So what does this time of year mean to you, and what are your feelings on the importance of creating theater for kids (or anyone, for that matter)?

    Connection. Live, immediate, genuine connection. Magic. Miracles. Humanity. Humor. And joy.

    Linda Bard, Andrew Quilpa, and Sophie Schulman in ‘Cranky Penguin.’ Photo courtesy of Adventure Theatre.

    I must say that a theme of connection is a sentiment that many can get behind, now more than ever. The word “connection” means so much more than it used to. And I love the idea that ATMTC has taken, of bringing different cultures and traditions but celebrating them together to show that even though they are different they too are connected.

    It’s a beautiful message for everyone but even more so for our youth, who have missed out on so much socialization, which is a necessary step in understanding others who may have different traits, hobbies, belief systems, and the like.

    Adventure Theatre’s Winterfest is quite clearly a passion project, made with love and hope for our future generations. Love of diversity and all that defines us in a myriad of ways. And hope that the youth will share that love and heal the many divides that are present across the world today.

    A lofty goal indeed, but a goal worth supporting.

    Winterfest runs through January 2, 2022, at Adventure Theatre in Glen Echo Park, at 7300 Macarthur Blvd, Glen Echo, MD. Tickets are $20.50 and available online, or by calling the box office at (301) 251-5766. To learn more about ATMTC’s 70th season, click here.

    COVID Safety: As Adventure moves to indoor performances and in the spirit of protecting the most vulnerable in their community, Adventure Theatre requires everyone attending its shows to wear a mask regardless of vaccination status. Proof of vaccination or a recent negative COVID-19 test, no more than three days old, will be required for admission for all individuals ages 12 and up. To view ATMTC’s full COVID Protocols, click here.

    SEE ALSO:
    Adventure Theatre’s ‘Winterfest’ is a three-in-one celebration

  • ‘Corduroy’ at Imagination Stage is laugh-out-loud adorable

    ‘Corduroy’ at Imagination Stage is laugh-out-loud adorable

    For the first in-person production of their 2021–22 season, Imagination Stage is showing Corduroy in its East Coast premiere. The adorable children’s play was adapted by Barry Kornhauser from the two books Corduroy and A Pocket for Corduroy written by Don Freeman in 1968 and 1978. 

    Director Kathryn Chase Bryer, along with Scenic Designer Daniel Pinha, has created a beautiful setting of a large department store, complete with a functioning escalator simulation and various appliances that seem to run on their own.

    Lisa (Ariana Caldwell) pinky-swears with her mother (Jasmine Brooks) that she will do extra chores to earn money to buy Corduroy in ‘Corduroy.’ Photo by Margot Schulman.

    Corduroy, played by Alex Vernon, is a lonely teddy bear in green overalls who captures the heart of young passerby, Lisa (Ariana Caldwell). She longs to take the bear home, but her Mother (Jasmine Brooks) is too stressed and busy, adding that the bear is missing a button and isn’t worth the money. The disheartened Lisa reluctantly leaves empty-handed, but not before rushing to the bear and whispering something into his ear.

    I should clarify that Corduroy is actually a magical bear that looks like your regular, run-of-the-mill stuffed animal when in the company of humans. But then he comes to life as soon as he’s alone and the transitions are quite cleverly devised.

    Speaking of humans, the unfortunate Night Watchman, played by Matthew Pauli, is on duty once the store closes and takes his job very seriously. And, as one would imagine, having a magical bear on the loose is a recipe for disaster.

    Corduroy (Alex Vernon) and the Night Watchman (Matthew Pauli) are on a madcap hunt in ‘Corduroy.’ Photo by Margot Schulman.

    Corduroy, who has language limited to the words “friend” and “button,” decides that he needs to find his lost button and sets out to look for it. Vernon does a delightful job portraying the adventurous bear, using great facial animation and intonation to convey much more than his two-word vocabulary would normally allow.

    As Corduroy finds different buttons throughout the department stores (think of the many appliance and furniture buttons out there), he leaves a path of wreckage behind him. The Night Watchman, believing there is an intruder in the mall, determines to catch the criminal. 

    Pauli is extremely funny as the guard, and his slapstick-y antics had the kids laughing anytime he was on stage. He gets splashed with paint, burns his pants on a stovetop, slips and falls too many times to count, and is chased by a vacuum cleaner, whose bag expands to epic proportions after running all night.

    Corduroy (Alex Vernon) climbs a tower of toilet paper in search of his missing button in ‘Corduroy.’ Photo by Margot Schulman.

    While these shenanigans are going on, over in the home of Lisa and her Mother, another sort of disaster is underway. Lisa’s Mother has agreed to let her earn enough to buy Corduroy herself by doing extra chores around the house. But unfortunately, Lisa is as clumsy as she is eager. And while her Mother tries to keep her cool, as her little girl clogs her sink, shrinks her favorite sweater, kills her prized plant, and breaks the trash can (leaving garbage all over the newly cleaned floor), it is apparent that Lisa is wrecking her chances of acquiring the extra money.

    Brooks and Caldwell interact together very naturally, and their loving relationship feels honest. Caldwell effuses such innocence and genuine remorse that it appears natural that Lisa never gets into real trouble, and Brooks masters the motherly art of internally losing her mind while acknowledging that her daughter’s unfortunate mistakes are entirely blameless.

    The whole production was well done and the kids in the audience were obviously and audibly enjoying themselves. I was seated next to two youngsters who kept shouting warnings to the poor Watchman and then cackling at his mishaps.

    The overall message of the show encourages love, family, and patience for adults and children alike. A little girl who has to earn a prize for herself, and a mother who teaches her the value of effort and honesty.

    Lisa (Ariana Caldwell) is reunited with her beloved bear in ‘Corduroy.’ Photo by Margot Schulman.

    Corduroy is a fun adventure, making for a nice outing for families with young children. Congrats to the creative team for making the “magic” look real. Imagination Stage’s light-hearted production brings laughter to feed the soul and inspire young minds.

    Running Time: Approximately 90 minutes, with no intermission.

    Best for ages 3 to 9.

    Corduroy plays through January 23, 2022, at Imagination Stage, 4908 Auburn Avenue, Bethesda, MD. Tickets ($28) are available to purchase online or by calling the box office at (301) 280-1660. 

    COVID Safety: Ticket holders ages 12 and older must provide proof of COVID-19 vaccination and, for ages 18 and older, photo ID for all performances. (Starting with P.Nokio performances in February 2022, those ages 5 to 11 will be included in this vaccination policy.) Imagination Stage’s complete COVID safety measures are here.

    CREDITS
    Based on the Corduroy and A Pocket for Corduroy books by Don Freeman
    Licensed by CBS Consumer Products
    Adapted for the Stage by Barry Kornhauser
    Directed by Kathryn Chase Bryer

    Cast: Jasmine Brooks (Mother), Ariana Caldwell (Lisa), Matthew Pauli (Night Watchman), Alex Vernon (Corduroy), Edmée Marie Faal (Understudy for Mother/Lisa), Jon Kevin Lazarus (Understudy for  Corduroy/Night Watchman)

    Creative Team: Daniel Pinha (Scenic Designer), Frank Labovitz (Costume Designer), J. Mitchell Cronin (Lighting Designer), Justin Schmitz (Sound Designer), Sarah Tundermann (Projections Designer), Mark Jaster (Movement Coordinator), Kate Kilbane (Production Stage Manager), Matthew Pauli (Props Consultant), Stella Pugliesi (Assistant Scenic Designer), Alex Vernon (Movement Assistant), Amith Chandrashaker (Lighting Design Advisor), Katie Moshier (Deck Captain), Olivia Viola (Covid Safety Manager/Wardrobe Crew), Laura Sperling (Production Manager), John Elder (Technical Director), Bethany Regalbuto (Master Electrician), Anna Klinger (Costume Shop Manager), Ren Brault (Assistant Technical Director), Danielle Harris (Scenic Charge Artist)

    SEE ALSO:
    Imagination Stage begins in-person season with safety paramount (season announcement)

  • Adventure Theatre’s ‘Winterfest’ is a three-in-one celebration

    Adventure Theatre’s ‘Winterfest’ is a three-in-one celebration

    Adventure Theatre MTC (ATMTC) continues its golden jubilee 70th season with Winterfest, a holiday-centered production that includes three multicultural shows for the price of one.

    Winterfest features “Uri & Ora Light the Menorah” by Robyn Shrater Seemann, “Connection” by Diego Maramba & Michelle Bowen-Ziecheck, and “Cranky Penguin” by Keegan Patterson. The production is helmed by DC-based director, writer, educator, and performer Cara Gabriel. A common thread through the three multicultural stories is the joy of celebrating the season with family and friends.

    “As we celebrate family this holiday season, we are so excited to bring three joyous stories about connecting and all things winter,” said Chil Kong, ATMTC artistic director. “So, bundle up and join us as we light the menorah, cross an ocean, and throw snowballs!”

    The show begins with “Uri & Ora Light the Menorah.” Each year, siblings Uri and Ora look forward to Chanukah—gathering with friends and family, eating Bubbie’s latkes, and no homework! When things don’t go the way they want, will they be able to repair the holiday—and their relationship?

    “Connection” examines the power of friendship brought forth in a time of mystery and change. Best friends Mal and Daniel take comfort in the story of their friendship, the journey they took together to a new land, and the new journey they’ve just begun. Through powerful friendships, “Connection” builds bridges from the Philippines to America, with love lasting beyond the bounds of space and time.

    The production concludes with “Cranky Penguin.” Penguin hates the winter, yet his neighbors Yeti and Walrus love it. As Yeti and Walrus try to convince Penguin the season’s not that bad, madness ensues, ensuring that many snowballs are thrown.

    Winterfest runs through January 2, 2022, at Adventure Theatre in Glen Echo Park, at 7300 Macarthur Blvd, Glen Echo, MD. Tickets are $20.50 and available online, or by calling the box office at (301) 251-5766. To learn more about ATMTC’s 70th season, click here.

    COVID Safety: As Adventure moves to indoor performances and in the spirit of protecting the most vulnerable in their community, Adventure Theatre requires everyone attending its shows to wear a mask regardless of vaccination status. Proof of vaccination or a recent negative COVID-19 test, no more than three days old, will be required for admission for all individuals ages 12 and up. To learn more about their COVID guidelines, click here.

    About Adventure Theatre MTC 

    Adventure Theatre MTC is a pre-eminent musical theater academy for youth in the DC region, with an integrated and nationally renowned professional theater for family audiences. Adventure Theatre MTC educates and inspires new generations of theater artists and audiences with exceptional theatrical experiences.

  • Imagination Stage begins in-person season with safety paramount

    Imagination Stage begins in-person season with safety paramount

    Imagination Stage will welcome audiences back to in-person performances in December beginning with Corduroy (December 11 –  January 23), followed by Balloonacy (January 15 – February 20), P.Nokio (February 23 – April 10), Mother Goose (March 11 – April 10), and Mr. Popper’s Penguins (June 22 – August 7).

    COVID-19 safety is paramount at Imagination Stage, where productions have fully vaccinated casts, everyone in the building age 2+ must wear a mask, and an updated HVAC system maximizes fresh, filtered outside air. Ticket holders ages 12 and older must provide proof of COVID-19 vaccination and, for ages 18 and older, photo ID for all performances. Starting with P.Nokio performances in February, those ages 5 to 11 will be included in this vaccination policy. Complete COVID-19 Safety Precautions are here.

    “It will be an extraordinary pleasure to welcome children back to the theater,” says Producing Artistic Director Janet Stanford. She continues, “A children’s theater performance is a happy and hopeful place to be, but we anticipate even more wonder from our young audiences because of the long time since they have been able to be inside a theater like Imagination Stage. For some, it will be a much delayed first experience, and we want to catch them up on what they’ve missed.”

    The season begins in mid-December with Corduroy, based on the Corduroy and A Pocket for Corduroy books by Don Freeman and adapted for the stage by Barry Kornhauser. The play, to be staged in the Lerner Family Theatre, is directed by Imagination Stage Associate Artistic Director, and Helen Hayes Award-winner, Kathryn Chase Bryer. The show finds the sweet spot between the story of the empathic little girl who falls in love with the stuffed bear, and the highly theatrical and laugh-out-loud clowning and masterful puppetry of the bear’s struggle to find its lost button. The cast is Jasmine Brooks, Ariana Caldwell, Matthew Pauli, and Alex Vernon. The creative team includes Scenic Designer Daniel Pinha, Costume Designer Frank Labovitz, Lighting Designer J. Mitchell Cronin, Sound Designer Justin Schmitz, Projections Designer Sarah Tundermann, and Movement Coordinator Mark Jaster.

    In February, in the Lerner Family Theatre, Imagination Stage revives a Psalmayene 24/Nick “tha 1da” Hernandez hit P.Nokio: a Hip-Hop Musical. The show is a fresh, musical take on Pinocchio directed by Tony Thomas with a cast that includes Jay Frisby, Danielle Gallo, Drake Leach, Tre’mon Mills, and Alana Thomas. As part of a partnership with the University of Maryland (UMD), three members of the design team are UMD MFA students, each working with a professional mentor. The creative team includes Music Director Nick Hernandez, Scenic Designer Shartoya JnBaptiste (UMD student), Costume Designer Ashlynn Ludwig (UMD student), Lighting Designer Max Doolittle, Sound Designer Roc Lee, and Projection Designer Jerran Kowalski (UMD student).

    Summer 2022 sees Mr. Popper’s Penguins in the Lerner Family Theatre. The musical has a book by Robert Kauzlaric, music and lyrics by George Howe, and is based on the novel by Richard and Florence Atwater. It features charming penguin puppetry and tells the story of characters who are following both their dreams and their convictions. Nathaniel Claridad directs, with cast and production team to be announced.

    Two productions in the intimate Reeve Studio Theatre are for the youngest audiences: ages 1–5. For the past decade, Imagination Stage has been a national leader in Theatre for Very Young Audiences (TVYA), and this season both brings back a favorite show, Balloonacy, and introduces a brand-new show, Mother Goose. Mother Goose is the newest in a series of successful partnerships between Janet Stanford and Kathryn Chase Bryer, who are writing and directing.

    Families can purchase subscription ticket packages, which offer discounts of up to 50% and are grouped by age. Purchase ticket packages at imaginationstage.org or by calling the box office at 301-280-1660. There will be four performances of Corduroy with socially distanced seating, even if Montgomery Country rules allow full capacity. Patrons may specifically select to attend one of these. Each show in the Lerner Family Theatre has an ASL-interpreted performance and a sensory-friendly performance.

    The Annette M. and Theodore N. Lerner Family Theatre 2021–2022 Season 

    Corduroy
    Based on the Corduroy and A Pocket for Corduroy books by Don Freeman
    Licensed by CBS Consumer Products
    Adapted for the Stage by Barry Kornhauser
    Directed by Kathryn Chase Bryer
    December 11, 2021 – January 23, 2022
    Best for ages 3+

    We all need a friend, and Lisa is instantly drawn to the perfectly imperfect teddy bear on display at the department store. If only she can convince her stressed-out mother to buy Corduroy for her! Meanwhile, Corduroy is determined to find his missing button and become worthy of going to a real home. After the store has closed, he goes on a hilariously destructive search—with the Night Watchman in comical pursuit. Full of mischief and clowning, this story of unconditional love captures both the humanity and the merriment of the holiday season.

    P.Nokio: A Hip-Hop Musical
    Book and Lyrics by Psalmayene 24
    Music by Nick “tha 1da” Hernandez
    Directed by Tony Thomas
    February 23 – April 10, 2022
    Best for ages 5–11

    G.Petto is an ingenious computer games designer who one day discovers that his newest game character, P.Nokio, can live outside the computer! G.Petto is thrilled at the prospect of having a “son,” and with the help of the Graffiti Fairy, he teaches P.Nokio how to become a real boy. But P.Nokio falls in with con artists and finds himself in a web of lies that endangers his father. To save G.Petto, P.Nokio must wise up, keep it real, and learn that words and truth are the mightiest weapons of all. A completely contemporary, high-energy musical update of Pinocchio by the creator of Imagination Stage’s hit Zomo the Rabbit: A Hip-Hop Creation Myth.

    Mr. Popper’s Penguins
    Book by Robert Kauzlaric
    Music and Lyrics by George Howe
    Based on the novel by Richard and Florence Atwater
    Directed by Nathanial P. Claridad
    June 22 – August 7, 2022
    Best for ages 3–10

    Mr. Popper, a painter of modest means, dreams of taking an Antarctic adventure. So he’s thrilled when a penguin named Captain Cook waddles out of a mysterious box left on his doorstep. The zookeeper donates a female companion and soon…the patter of 20 baby penguin feet! To feed all of these mouths, the imaginative Mr. Popper and his wife turn his talented penguins into a must-see traveling vaudeville act full of song and dance. But the rigors of performing take a toll on them all, and they must make a difficult decision. This musical play, featuring expert puppetry, depicts a wild and witty way to follow your dreams–and your convictions.

    Theatre for the Very Young 2021–2022 Season 

    Balloonacy
    By Barry Kornhauser
    Directed by Kathryn Chase Bryer
    January 15 – February 20, 2022
    Best for ages 1–5

    A beautiful movement-based show that revisits the classic film The Red Balloon. Nothing can go right for the character of the old man, whose days are gray and dreary—until he is visited by a friendly red balloon. In the playful physical style of Charlie Chaplin and Buster Keaton, the old man—an adult version of the boy in the film—regains his youthful spirit, with the help of the red balloon!

    Mother Goose
    Devised by Kathryn Chase Bryer and Janet Stanford with Imagination Stage artists
    Music by Debbie Jacobsen
    Directed by Kathryn Chase Bryer
    March 11 – April 10, 2022
    Best for ages 1–5

    A brand-new music-filled piece by the creators of Wake Up, Brother Bear and Mouse on the Move! Mother Goose leads the audience through some of her most beloved nursery rhymes, using puppets and props to bring to life Humpty Dumpty, Old King Cole, the Eensy Weensy Spider, and more. The magical Mother Goose invites your little ones to join in with each rhyme’s story—teaching them that the very best way to do what needs to be done is to do it together. 

    ABOUT IMAGINATION STAGE
    Founded 41 years ago, Imagination Stage is a holistic theater arts organization for all children and youth. Through award-winning professional theater, arts education, and community-based theater programming, the organization helps children and young people develop a deep appreciation of theater arts while building a sense of self and social understanding. Based in Bethesda, MD, its programming serves children and families throughout the DMV.

  • Kennedy Center’s ‘Accoustic Rooster / Indigo Blume’ is a joyous smash hit

    Kennedy Center’s ‘Accoustic Rooster / Indigo Blume’ is a joyous smash hit

    American writer Kwame Alexander has won numerous awards with his poetry and children’s fiction. And now, the New York Times best-selling author has combined two of his books to bring the characters to life in a world premiere Kennedy Center commission, Acoustic Rooster’s Barnyard Boogie: Starring Indigo Blume. 

    Alexander worked with writing partner Mary Rand Hess for the script and collaborated musically with Randy Preston, who composed the songs. The story takes the title character from Indigo Blume and the Garden City, about a young girl who inspires her community to go green and creates a rooftop garden and moves forward in her life.

    Kanysha Williams as Indigo Blume in ‘Acoustic Rooster’s Barnyard Boogie: Starring Indigo Blume.’ Photo by Jati Lindsay.

    The city’s residents are enjoying their success in cleaning up their neighborhood with a big celebration, and Indigo (played by Kanysha Williams) is going to sing on center stage! While this is exciting in theory, the little girl with big dreams begins to feel overwhelmed as her friends gush about how cool she’ll look up on the stage and how many people will be looking just at her.

    After a minor freakout, despite loving reassurances from her parents, Indigo resolves that she just can’t perform alone on stage and lies down to take a nap after an exhausting day.

    Enter the Acoustic Rooster and His Barnyard Band characters! Last seen in their book, they had come together to form a rocking band for a competition and discover that making incredible music with great friends is better than any prize. 

    Farrell Parker, Jaysen Wright, Randy Preston, Kanysha Williams, Vaughn Midder, and Lauren Davis in ‘Acoustic Rooster’s Barnyard Boogie: Starring Indigo Blume.’ Photo by Jati Lindsay.

    Indigo seems to awaken from her nap and finds herself in the barn where the animals are practicing. She recognizes the characters from her favorite book and is ecstatic to be in the presence of Acoustic Rooster (Randy Preston), Mules Davis (Jaysen Wright), Duck Ellington (Vaughn Midder), Chickee Minaj (Lauren Davis), and Miss Dairy Parton (Farrell Parker). These five characters play instruments, sing, dance, and rap in preparation for the next Barnyard event. 

    But a storm blows by, destroying the barn, along with their plans for the concert and their future. Through Indigo’s resilience and positivity, the group pushes onward to find a solution, learning that where there is fear, there can also be bravery.

    The production is truly an amazing experience, filled with energy, courage, and hope. The songs in the show are a fantastic mix of jazz, soul, hip hop, blues, and everything in between, featuring each of the cast members in varying genres. I would almost say that the adults enjoyed the show even more than the kids did, with the references to lyrics and characters’ human counterparts most likely lost on the youth but hilariously clever for the benefit of the grown-ups. 

    The costumes (designed by Erik Teague) paired with wigs (designed by Priscilla Bruce) conveyed the human/animal hybrids in a realistic and fun way and allowed each to strut their unique selves proudly about the stage. 

    But with all the beautiful creative pieces in place, even the most smartly designed show must have a stellar cast. And they did. Composer Randy Preston plays the Dad and the Rooster. His presence and the power in his voice are magnificent. 

    Lauren Davis played the Mom and Chickee Minaj, who frankly deserves her own reality show. Her character was explosive, and I am not ashamed to say that I was cackling numerous times over her antics.

    Jaysen Wright, Lauren Davis, Kanysha Williams, Randy Preston, and Vaughn Midder in ‘Acoustic Rooster’s Barnyard Boogie: Starring Indigo Blume.’ Photo by Jati Lindsay.

    Kanysha Williams as Indigo Blume was perfect casting (by Michelle Kozlak). Williams’ ability to play a child with the innocence and unsureness at times in her voice — and then so smoothly and naturally slide into her true voice, when her character’s confidence peaked — is a wonderful development to see, or rather, hear.

    Farrell Parker as the fabulous Miss Dairy Parton (the sweetest and most loved Diva Cow there ever was), with Vaughn Ryan Midder as the eclectic Duck Ellington, and Jaysen Wright as the soulful Mules Davis rounded out the cast, and the combination of genuine talent and uplifting material created a guaranteed hit. 

    If I had to find fault, I would simply say that there are two scene changes that seemed oddly out of place in their stillness, since most of the show works the movement of pieces and transitions of the stage into the action. But the moments are easily overlooked and don’t affect the overall energy.

    The show is recommended for 5 and up but anyone can enjoy the humor, music, and triumph that the production exudes. Author Kwame Alexander released a book based on the new show in 2020 and I would not be surprised if it becomes a fast favorite, along with its musical counterpart.

    The Kennedy Center’s world premiere of Acoustic Rooster’s Barnyard Boogie: Starring Indigo Blume is a smash hit, and the show’s lessons of being brave in the face of fear and finding the strength inside you can resonate with all people, young and old alike. Don’t miss this joyous adventure.

    Running Time: Approximately 70 minutes, with no intermission.

    Illustration by Tim Bowers

    Acoustic Rooster’s Barnyard Boogie: Starring Indigo Blume plays through November 28, 2021, in the Family Theater at the Kennedy Center – 2700 F Street, NW, in Washington, DC. For tickets ($20), call (202) 467-4600 or go online.

    Best enjoyed by children 5+.

    COVID Safety: The Kennedy Center Vaccination and Mask Policy (including for children under 12) is here.

    Acoustic Rooster’s Barnyard Boogie: Starring Indigo Blume will go on tour across the country in the 2022–2023 season (cities and dates to be announced).

    Acoustic Rooster’s Barnyard Boogie: Starring Indigo Blume
    A Kennedy Center World Premiere Commission
    Adapted from the books by Kwame Alexander
    By Kwame Alexander and Mary Rand Hess
    Music by Randy Preston
    Directed by Lili-Anne Brown

    CAST
    Acoustic Rooster/Dad: Randy Preston, Indigo Blume: Kanysha Williams, Chickee Minaj/Mom: Lauren Davis, Miss Dairy Parton/Samantha: Farrell Parker, Duck Ellington/Elijah: Vaughn Ryan Midder, Mules Davis/Mr. Woody: Jaysen Wright

    CREATIVE TEAM
    Kwame Alexander: Playwright, Mary Rand Hess: Playwright, Lili-Anne Brown: Director, Randy Preston: Composer, Mark G. Meadows: Music Director/Orchestrator, Breon Arzell: Choreographer, Arnel Sancianco: Scenic Designer, Erik Teague: Costume Designer, Alberto Segarra: Lighting Designer, Kevin Alexander: Sound Designer, Andrea “Dre” Moore: Properties Artisan, Michelle Kozlak: Casting Director, Julia Singer: Production Stage Manager, Nadia Guevara: Assistant Director, Priscilla Bruce: Wig Designer

    SEE ALSO: 
    Randy Preston crows about his songs in ‘Accoustic Rooster’ at KenCen (interview by Chad Kinsman)

  • Fun’s in store at ‘Enchanted Bookshop Christmas’ from Encore Stage & Studio

    Fun’s in store at ‘Enchanted Bookshop Christmas’ from Encore Stage & Studio

    Encore Stage & Studio presents Todd Wallinger’s Enchanted Bookshop Christmas, a festive prequel to his wildly popular children’s play The Enchanted Bookshop. Director Susan A. Keady (assisted by Morgan Cobb) wrangles a large cast and crew made up primarily of children. It’s an ambitious undertaking but one that is worthwhile and fun, resulting in a production that more than earns Encore’s longstanding slogan, “Theatre by kids, for kids!”

    Technical Director Kristen Jepperson transforms the stage into the cozy interior of the bookshop “A Likely Story,” decked for the season with a sparkly tree and twinkle lights. Lighting Director Gary Hauptman uses soft lighting to make the environment warm and welcoming, highlighting life-size displays such as Cinderella and the Nutcracker (though one of these is more than just a decoration!).

    Annabelle (Juli Walitt) and Margie (Sydney Payne) in ‘Enchanted Bookshop Christmas.’ Photo by Cindy Kane Photography.

    The production element that stands out the most has to be the costumes by Debra Leonard. With so many classic (but very different) characters on stage at once (think Dorothy, the Velveteen Rabbit, Pollyanna, and Tom Sawyer, to name a few), they almost look like they’re celebrating Halloween onstage instead of Christmas!

    Bookshop owner Margie (Sydney Payne) welcomes her sister Ellen (Reagen Holland) and her young daughter Annabelle (Juli Walitt) to come and stay with her for Christmas. Little does everyone know, when nighttime falls the storybook characters escape their bindings and come to life! We find out that Ellen has fallen on hard times after having been laid off from her job, but fortune strikes when billionaire Philip Brantley (Jagger Grove) wanders in with the offer of a lifetime. However, plot twists intervene and threaten to ruin everything, unless the storybook characters can work together to pull off a Christmas miracle!

    The plot has a lot of fun moments, and the kids all do very well with the material. Though perfect performances can’t be expected with such a young cast, for the most part, they are solid and steady. I especially liked a moment when Margie is annoyed to find that someone has dog-eared a copy of her book, only later to see that the Nutcracker (a lively performance by Drew Wright) panics when he realizes that he has grown actual dog ears! Befitting the season, most of the characters are from holiday classics; I especially enjoyed Henry Phoel and Gabby Wilson as Jim and Della Young from The Gift of the Magi, whose classic story unfolds onstage after getting a modern upgrade.

    Back row: Velveteen Rabbit (Harper Herndon), Doctor Dolittle (Elizabeth Bell), Little Match Girl (Juliette Kane), Pollyanna (Kira Kettler), Dorothy (Maddy Sadler), Tom Sawyer (Max Moore); front: Annabelle (Juli Walitt), Bombalurina (Zora Howard) in ‘Enchanted Bookshop Christmas.’ Photo by Cindy Kane Photography.

    Ryan Hutt delivers one of the evening’s most eager performances as Ebenezer Scrooge, with elaborate and enthusiastic body language that captures and holds your attention whenever he’s onstage. Catalina Coronado is great as Amy March, and Abigail Houle gets a lot of laughs as Cinderella, who begins each night by frantically searching for her lost slipper. Zora Howard easily has the most stage time as Bombalurina, the bookshop cat. Though she doesn’t have any actual lines, her interactions with the other characters are amusing (does hissing count as a line? If so then I’m mistaken…she has many lines!).

    Encore Stage & Studio’s Enchanted Bookshop Christmas was a lot of fun! Highly enjoyable and full of spirit, the show would be a great way for your family to kick off the holiday season.

    Running Time: About 90 minutes, including one 15-minute intermission.

    Enchanted Bookshop Christmas plays through December 5, 2021, presented by Encore Stage & Studio performing at Gunston Arts Center – Theater One, 2700 South Lang St., Arlington, VA. Tickets ($15 for adults; $12 for children, students, military, and seniors) can be purchased online.

    COVID Safety: Encore Stage & Studio follows all Arlington County and Arlington Public Schools COVID-19 procedures. Masks are required for all audience members except for children under the age of 2. Encore staff and students are also required to wear masks at the theater.

  • Randy Preston crows about his songs in ‘Accoustic Rooster’ at KenCen

    Randy Preston crows about his songs in ‘Accoustic Rooster’ at KenCen

    In stories from cultures around the world, the rooster, nature’s eager alarm clock, has symbolized bravery, pride, diligence, new beginnings, and family. And given roosters’ vocal talents, it’s no wonder they have often been cast as entertainers, including Disney’s narrating Alan-a-dale in Robin Hood and Chanticleer in Rock-a-doodle. 

    This month at the Kennedy Center, a new avian artist will make his debut in the world premiere of Acoustic Rooster’s Barnyard Boogie: Starring Indigo Blume. The new musical is a duet of sorts between two characters from award-winning author and educator Kwame Alexander’s shelf, co-written with his frequent collaborator, writer, and artist Mary Rand Hess. 

    Kanysha Williams as Indigo Blume in ‘Acoustic Rooster’s Barnyard Boogie: Starring Indigo Blume.’ Photo by Jati Lindsay.

    It tells the story of Indigo Blume, a young girl who must overcome a case of stage fright so she can perform at her community festival. Can the characters from her favorite book—Acoustic Rooster, Chickee Minaj, Miss Dairy Parton, Mules Davis, and Duck Ellington—help her to find her voice? 

    Bringing this barnyard band to melodious life is DMV-native writer and educator Randy Preston, Alexander’s regular collaborator and long-time friend. Preston, who also grew up in England, Zimbabwe, and Kenya, not only composed the music; he’s picking up his guitar for a turn as the eponymous poultry. He shares his thoughts about the creation process and message of this inspiring new musical. 

    How did Acoustic Rooster’s Barnyard Boogie: Starring Indigo Blume begin? 

    Randy Preston

    Randy Preston: Mo Willems invited Kwame and me to come and check out his play [Don’t Let the Pigeon Drive the Bus at the Kennedy Center, 2019]. We watched the workshop of it, and I was like, “This is crazy cool. I love this. We should do something.” And the Kennedy Center asked if we were interested in working with them. We thought about some ideas, and Kwame said, “Let’s mash up a couple of my characters and put them into one musical. It’ll be fun” [laughs]. So that’s what happened. We recruited Mary Rand Hess to co-write the script, and I started working on the songs. 

    What was the writing process like? 

    I’ve been writing music my whole life as a hobby, and with Kwame I’ve written a lot of kids’ music based on his bestsellers [Rebound, Solo, and Swing]. I grew up with musicals—I sang all the words to West Side Story when I was eight or nine—but I’ve never actually written a musical. I was like, “I want to do it. I think I can do it. But I don’t know how. So let me read a book” [laughs]. So I read a book and I talked to family members and one of my mentors, Dr. Geoffrey Newman [Dean Emeritus of the College of Fine Arts at Montclair State University]. He’s a theater guy and an amazing person. He helped me conceptually understand what I needed to do. 

    The coolest part is I was forced to write really short songs. The show is an hour long and we have around 32 songs. Songs are like puzzles to me: “How can I make this idea, this paragraph of thought, into four lines of a verse, and then four lines of a chorus, and then maybe another four lines of verse?” That became really fun. And they’re all driving the narrative and helping us move from these emotional spaces where words don’t suffice and we have to go into song. 

    You mentioned the show has 32 songs. 

    Pretty much every other minute there’s another song, and some of the songs are 30 seconds. I put in as much music as I could because I feel that kids need to be exposed to as much good music as they can. Having access to a wide variety of genres opens the mind. And the parents, at the same time, can enjoy some really high-quality music too. 

    What styles are we going to hear? 

    Go-go, obviously. My mom’s Piscataway and this is DC, so I’m going to rep DC hard. We also have jazz, blues, and hip hop. We have a kind of vocal choir thing. I wrote a waltz. Soul, R&B. We’re doing pretty much any genre you can find, especially within the African diaspora. 

    Farrell Parker, Jaysen Wright, Randy Preston, Kanysha Williams, Vaughn Midder, and Lauren Davis in ‘Acoustic Rooster’s Barnyard Boogie: Starring Indigo Blume.’ Photo by Jati Lindsay.

    You’re also in the show as Acoustic Rooster. How have you experienced being both one of the show’s creators and a performer? 

    I had to play and sing all the songs early on because no one else really knew them, so I really got to experience them. The challenge was living with having created a song and then having to change it, having to sit and think, “This is crazy. We’re going to change the key of this song because nobody can sing it. It’s too high. Or these lyrics are too fast” [laughs]. So, I think performing actually helped me create better songs. 

    I have enjoyed being able to hear ideas that I created in my head developed by Mark Meadows [music director/orchestrator] and these amazing musicians in the band. I wrote a couple of songs a week and a half ago, and now I’m listening to people sing them. It’s beautiful. A couple of times I just had to get myself together because I couldn’t say my lines. I was choked up emotionally. To see something develop is always gratifying for any creator.

    And I was just planning on writing. I did not anticipate being in the show. One of the producers was like, “You can do this. We need your voice.” I don’t think I’ve ever worked in an environment that was so supportive, so inclusive, and so affirming. 

    Jaysen Wright, Lauren Davis, Kanysha Williams, Randy Preston, and Vaughn Midder in ‘Acoustic Rooster’s Barnyard Boogie: Starring Indigo Blume.’ Photo by Jati Lindsay.

    What do you hope audiences will see in the show? 

    I think it’s a really beautiful piece, and I think art is meant to be beautiful. The cast and crew are making something amazing. 

    One of the things we try to promote is Indigo’s relationship with her parents being very strong. In representations of Black families, you don’t see that very often. They’re together, they love her, and they don’t force her into anything. They help her make choices for her. And she’s a small, pretty, happy brown-skinned girl. I’m super happy about that because we don’t see that character in many of the representations that are available.

    It’s a hopeful show. It’s about conquering stage fright or whatever fear you might have. Allowing kids to have the autonomy to decide things is important. It’s okay to try, or not try, or fail. Growth is not a binary process. It’s not an either/or. You’re in the process of moving toward something. So giving children choices, letting them say, “This was my decision and I’m glad I made it” is a powerful place to be. 

    Running Time: One hour with no intermission. 

    Illustration by Tim Bowers

    Acoustic Rooster’s Barnyard Boogie: Starring Indigo Blume plays through November 28 in the Family Theater at the Kennedy Center – 2700 F Street, NW, in Washington, DC. For tickets ($20), call (202) 467-4600 or go online.

    Best enjoyed by children 5+.

    COVID Safety: The Kennedy Center Vaccination and Mask Policy is here.

    CREDITS
    Acoustic Rooster’s Barnyard Boogie: Starring Indigo Blume
    A Kennedy Center World Premiere Commission
    Adapted from the books by Kwame Alexander
    By Kwame Alexander and Mary Rand Hess
    Music by Randy Preston
    Directed by Lili-Anne Brown