DC Theater Arts

Tag: Harlem

Review: ‘When January Feels Like Summer’ at Mosaic Theater Company of DC

The weather, like the five characters in Cori Thomas’ tender romantic comedy When January Feels Like Summer, is in crisis. Attribute the unpredictable climate to global warming, but it’s nothing a little love of mother earth and love of fellow man can’t fix. Thomas’ play is a slice of New York City life, about a group of broken individuals in Harlem whose lives intersect in an unanticipated, seemingly random way. Through these connections, Thomas shows us in her characters- a New York City sanitation worker, the wife of a bodega owner and her transgender brother, and two young fast food workers- that everyone, no matter how damaged, or how seemingly insignificant, is worthy of love.

(L to R) Vaughn Ryan Midder (Jeron) and Jeremy Keith Hunter (Devaun). Photo by Stan Barouh.

It’s a story we’ve been told countless times and it would all be rather unremarkable were it not for Thomas’ uncanny ear for language and her ability to create characters who are wholly unique individuals, as well as director Serge Seiden and his spectacular cast who bring these people leaping off of the page with a sensitivity, warmth and humor that left me smiling as I left the theatre, and comforted with the reminder, which perhaps we all need nowadays, that there is indeed goodness in the world.

Off of the 157th Street subway stop on the 1 line in Harlem, Nirmala begrudgingly (Lynette Rathnam) runs the bodega owned by her abusive husband, who lies brain dead in a hospital bed. Her brother Ishan (Shravan Amin) confides in her that he is transgender and wants Nirmala to discontinue life support in order to collect a one-million dollar life insurance policy that will, in part, pay for his gender reassignment surgery.

(L to R) Shravan Amin (ndira) and Lynette Rathnam (Nirmala). Photo by Stan Barouh.

In another corner of the neighborhood, two young men (a remarkable Jeremy Keith Hunter and Vaughn Ryan Midder), boys really, dream of something larger than their Burger King jobs. When Devaun (Hunter) ends up on the receiving end of an unwanted touching and he and Jeron (Midder) decide to warn the neighborhood of a predator on the loose through a poster campaign, the lives of the two become intertwined with Nirmala, Ishan (now Indira) and the neighborhood garbage man, Joe (Jason B. McIntosh), in the most unassuming but profoundly honest way. And it is the honesty of text and performance that makes When January Feels Like Summer rise from the ordinary to the extraordinary.

I am hard pressed to recall a more uniformly excellent acting ensemble than the one Seiden has assembled here. As the sad and lonely anonymous strangers who meet cute in the big city, Rathnam and Macintosh bring a quiet and lovely vulnerability to their roles that blossoms beautifully towards the end of the play when, like giddy teenagers, they share a banana split. Amin brings dignity to the role of Ishan/Indira a stranger to his own body who slowly discovers the world with fresh eyes and learns, finally, to receive and enjoy the love and beauty that is in abundance around him. Hunter shines as Devaun, the young man with more value than even he knows he has. He disappears so totally and completely in to the character, it is as if Thomas wrote the role specifically for him. It is a magnificent performance. As his sidekick, and the smarter of the two, Midder is a game straight man.

(L to R) Lynette Rathnam (Nirmala) and Jason B. McIntosh (Joe). Photo by Stan Barouh.

Although not explicit, there is a sense of the magical that hovers over Seiden’s production and gives it a bit of a fairy tale quality. Perhaps it comes from the presence of the god Ganesha, the Hindu deity recognized by his elephant head, a statue of whom presides over the proceedings. The production looks pristine, more like an imagined New York City, than the one I lived in for over a decade (the set is by Debra Booth, lighting by Max Doolittle, and costumes by Robert Croghan).

Ganesha is known as the remover of obstacles and the god of beginnings, and as I watched When January Feels Like Summer, I was reminded of a quote I heard when I was living not far from where the play takes place. “It will all work out in the end. If it hasn’t worked out, it isn’t the end.” For the characters in When January Feels Like Summer, for the bodega owners, and garbage men, and fry cooks, and millions of others whose stories we don’t know but who make up the fabric, no, mosaic, if you will, of New York City, this quote is more than mere words. In this cruelest of cities, it is a mantra, a hope and belief that we all deserve and will find grace and love.

Running Time: Two hours 15 minutes, with one intermission.

When January Feels Like Summer plays through June 12, 2016, at Mosaic Theater Company of DC performing in the Lang Theatre at Atlas Performing Arts Center – 1333 H Street NE, in Washington, D.C. For tickets, call the box office at (202) 399-7993 ext. 2, or purchase them online.

LINK:
Magic Time! ‘When January Feels Like Summer’ at Mosaic Theater Company of DC by John Stoltenberg.

RATING:

May 24, 2016
Magic Time! ‘When January Feels Like Summer’ at Mosaic Theater Company of DC

Mosaic Theater Company of DC tops off its prodigious first season with an improbably romantic comedy by Liberian-American playwright Cori Thomas. It’s about people from different cultures who you would not think would fall for each other but they do. And it’s got a heart so big and embracing, so filled with the endearing humor of human connecting, that by the end you want to hug it back.

(L to R) Vaughn Ryan Midder (Jeron) and Jeremy Keith Hunter (Devaun). Photo by Stan Barouh.

Directed by Managing Director and Producer Serge Seiden with the same genial brio he brought to the brittler Bad Jews, When January Feels Like Summer feels like sweetly comic summer stock, apolitical and unpolemic light entertainment. Yet in a profound way, Thomas’s play expresses Mosaic’s commitment “to making powerful, transformational, socially-relevant art.”

The play takes place in Harlem in the vicinity of the 157th Street subway stop. It features five characters, two of whom are African American and best friends, and two of whom are Indian immigrants and brother and sister.

We first meet homeboys Devaun and Jeron riding the subway and loudly bantering about “getting with” women. Devaun, who boasts cocksurely of his experience, is played by Jeremy Keith Hunter with delightfully antic swagger. His is a larger-than-life comic performance that keeps getting more impressive as the play goes on. Jeron looks to Devaun for dating smarts but in all other respects is brighter, and Vaughn Ryan Midder brings to the role a winning earnestness.

The story shifts to a convenience store operated by Nirmala. The shop belongs to Nirmala’s husband, but he has lain brain dead in a hospital for three years since he was shot during a robbery. Nirmala’s brother, Ishan, urges Nirmala to pull the plug, because he intends to transition and wants the life-insurance money to pay for gender-reassignment surgery. Nirmala cannot bring herself to disconnect her husband, and Lynette Rathnam plays the character’s inner conflict with stirring sensitivity. The tricky part of Ishan, who during the play becomes a woman named Indira, is embodied by Shravan Amin with persuasive empathy and grace.

The fifth character is Joe, an African American and a sanitation worker who picks up trash from the convenience store—including at one point Nirmala’s husband’s stash of porn. Inside Joe’s burly and brusque exterior is the lonely hurt of a divorcé (his ex turned out to be a drug addict). Joe takes a liking to Nirmala; he sees in her a good person he would want to be seen by. Nirmala considers herself still married and is not ready to move on, but in Jason B. McIntosh’s nuanced portrayal of Joe, she finds reason to reconsider.

(L to R) Lynette Rathnam (Nirmala) and Jason B. McIntosh (Joe). Photo by Stan Barouh.

As Nirmala’s and Joe’s romance unfolds, so does another bicultural liaison even more unlikely: a romance between 28-year-old Indira, her body now responding to new hormones, and 20-year-old Devaun, his libido in hormonal overdrive. Devaun sees Indira as the woman she wants to be seen as, and Indira sees Devaun as the gentleman he realizes he quite likes being seen as. In being seen, each of the characters begins life anew. There arises a piquant sexual chemistry between Devaun and Indira , and Hunter and Amin perform it with a conviction that made their first date scene a poignant high point of the play.

In an earlier scene in the hospital, Nirmala has a monologue in which she tells her husband—on the chance he can hear—how deeply it hurt her that he preferred getting off on the bodies of women in porn to ever touching hers. Besides drawing us into Nirmala’s character with stripped-bare intimacy, Rathnam’s riveting performance in the scene helps us understand Nirmala’s enormous underlying emotional longing to be seen by a man who desires her.

Not to be left out of the mix-and-matchmaking, Jeron gets a chance at a date with the Chinese-American woman he’s got a crush on. Clearly in When January Feels Like Summer, the rubric for romance is, Never mind the gap.

Desire across color lines and other societal divisors has long been an important trope in theater. Besides being intrinsically interesting, attraction that transcends such barriers can be transformative: Dramatic depictions of it can change society because witnessing it can change how people see other people—not as the other but as someone.

When January Feels Like Summer goes further: It shows characters discovering for themselves the transformative experience of being seen. It shows that gift—being beheld as one’s authentic self—enabling the characters to regift it to one another.

(L to R) Shravan Amin (ndira) and Lynette Rathnam (Nirmala). Photo by Stan Barouh.

As uplifting and heartfelt as Thomas’s comedic script is, it takes on particular significance in the context of Mosaic’s intercultural mission at the crossroads that is H Street. One cannot imagine When January Feels Like Summer resonating with more meaning on any other stage in DC. And that ultimately is the huge-hearted, feel-good force that is Mosaic’s hilarious and healing season finale.

Running Time: Two hours 15 minutes, with one intermission.

When January Feels Like Summer plays through June 12, 2016, at Mosaic Theater Company of DC performing in the Lang Theatre at Atlas Performing Arts Center – 1333 H Street NE, in Washington, D.C. For tickets, call the box office at (202) 399-7993 ext. 2, or purchase them online.

May 23, 2016
Magic Time! The Women’s Voices Theater Festival: Darius & Twig’ at The Kennedy Center

I cannot help but think that if W.E.B. DuBois were alive, he would absolutely love Darius & Twig, the passionately purposeful play by Caleen Sinnette Jennings adapted from Walter Dean Myers’s popular young adult novel of the same name. Now running in the Family Theater at The Kennedy Center in a production as playful as it is profound, Darius & Twig is positively pulsing with edifying energy and “the vision of seers.”

The phrase is from DuBois’s famous 1903 essay “The Talented Tenth,” which begins:

The Negro race, like all races, is going to be saved by its exceptional men. The problem of education, then, among Negroes must first of all deal with the Talented Tenth; it is the problem of developing the Best of this race that they may guide the Mass away from the contamination and death of the Worst, in their own and other races. Now the training of men is a difficult and intricate task. Its technique is a matter for educational experts, but its object is for the vision of seers.

It would be ahistorical to wish DuBois’s conscientious attention to black men did not leave out black women. He was a man of his time, after all. But he was a man ahead of his time as well: His point about the uplifting importance for a people of excellent higher education for its exceptional upper percentile has stood the test.

Darius (Christopher Wilson) and Twig (Justine Weaks). Photo by Teresa Wood.

Darius and Twig are two boys living in Harlem, one black, one Hispanic. They’re in high school, they are best friends, and they each excel. Darius writes, so well that during the play his story is accepted for publication in a literary journal. Twig runs, so fast that during the play he triumphs in competition.

That Darius is a “seer” is explicit in the script. He poetically imagines himself flying like a falcon and tells us he sees things only he can see. Twig too envisions the victory he wishes to achieve.

Significantly Darius and Twig deeply esteem each other’s excellence and want each other to succeed—a beautiful part of their bond. They are not in competition with each other. They are in competition for their future, which they know is dependent on getting into a good school (“You have to give a damn for yourself”).

The boys face obstacles to their aspirations. Darius’ Mama is a single mother living near poverty, raising Darius and his brother Brian, and struggling with a drinking problem. Twig’s Uncle Ernesto pressures him to quit. There’s a sadistic neighborhood bully named Midnight who with his sidekick Tall Boy taunts and torments Darius and Twig, calling Twig “fairy feet.”

But there are significant adults in their world who recognize Darius and Twig’s talents and who encourage and support them. The discipline and determination to succeed evidenced by both Darius and Twig are dramatically exemplified. In the end both Darius and Twig are accepted to colleges on scholarship. And the thrill of their accomplishment rippled through the mostly adult audience on opening night.

Twig (Justine Weaks). Photo by Teresa Wood.

As Darius, Justin Weaks gives a phenomenally eloquent performance. There need to be more vehicles—like this and Dontrell, Who Kissed the Sea—for his transfixing acting agility. And he was extraordinarily well matched by the exuberant Twig played by Christopher Wilson, who doubled as Brian. Appearing in 13 supporting roles were the astonishingly versatile Manu Kumasi and Latia Stokes. Director Eleanor Holdridge created a lively, believable world, and most remarkably she makes the atypical tenderness underlying the relationship between Darius and Twig completely credible.

The set by Andrew Cohen is an urban montage of graffiti-filled brick walls, basketball backstop, garbage can, newsstand, all against blue sky breaking through. Overhead was spray-painted “One person can only do so much”—with the word “only” crossed out. That edited legend is a tip-off that there is a pedagogy at play in this play. Its inspirational messaging is intrinsic to every scene, and a colorfully designed Cuesheet program guide intended for young audiences ensures that its lessons last. For instance,

What it takes to be a runner,
what it takes to be writer
you have to be the best you can,
you have to be a fighter.

The best, the best you can… Over a century ago DuBois capitalized the word Best. Darius & Twig underscores it with true-to-life contemporary truth. And the result is one of the best shows in town for young audiences of all ages.

Running Time: 60 minutes, without an intermission.

Darius & Twig plays through November 8, 2015 at the Family Theater at The John F. Kennedy Center for the Performing Arts – 2700 F Street NW, in Washington, DC. For tickets, call the box office at (202) 467-4600, or Toll-Free: (800) 444-1324, or purchase them online.

LINK
Review of Darius & Twig by Robert Michael Oliver on DCMetroTheaterArts

October 31, 2015
‘Ain’t Misbehavin” at The Vagabond Players

The joint was jumpin’ yesterday as The Vagabond Players wisely chose The Murray Horwitz and Richard Maltby Jr. Tony Award-winning musical Ain’t Misbehavin’ filled to open their 99th Anniversary Season with songs by the ingeneous Fats Waller.

Before I hurl some laurels on the cast and musicians I need to let you know that for yesterday’s matinee, which I attended, the role of Charlaine was played by Amber Hooper and a new pianist – Winston Philip – came in to play with the band. It was a little rough in the beginning of the show and there were some pitch problems in the first act, but there were buckets of joy and love and heat permeating from that stage, and as the show went on, especially in the second act, it was musical heaven!

And the most important thing that was evident from the get go -an actual recording of the real Fats Waller — was that everyone on that stage — musician and cast member alike – was going to have a great time working together and singin’ and swingin’ to the beat of those great immortal songs that make up this fabulous revue.

I am going to make a public confession right here and now: I adore Director Rikki Howie Lacewell, not only as a performer, but also as a director, and now as a costume designer and choreographer. She has created some of them most colorful and stunning hats and dresses I have seen on the stage and each one is fulled with the colors of the rainbow – eye candy for all to see- and for the cast to wear. There’s enough glitz and glitter in those beautiful creations to fill up a jewelry store, and enough class to stroll through Harlem in the 1930s during the height of its Renaissance. And she had her energy-filled cast slow-dancing and kickin’ up their heels – always movin’ to the beat or the mood or the ambiance of the song and msuic, and the story they were singin’ and tellin’.

From left to right: Amber Hooper, Melissa Broy Fortson, Timoth David Copney, Brenda D. Parker, Kevin Sockwell, Michelle Bruno, and Summer Hill (who was not in the performance I am reviewing here). Photo by Tom Lauer.

And as a director she understands each and every lyric and has her cast members sell every funny and punny and suggestive word – and they all become ‘lyric salesmen and saleswomen.’ Every song has a story and you can’t help but to listen and follow carefully as each story unfolds in front of you. And even though I know every lyric and tune from this show, there were times I felt like I was hearing these songs for the first time. Director Lacewell has transferred her abundance of joy and fun and respect for the show and Waller’s work to her performers, musicians, and -most important – to the audience.

And kudos to Musical Director LeVar Betts and his hot-playin’ band: Winston Philip and Emily Sergo on keyboards, Samuel Glover on drums, and Mike Pugh on bass. In such an intimate performing space they created a miracle: they never once overwhelmed the singers and never once drowned them out. And man can they play! Bravo!!

And to not give it all away, let me name some of my favorite performances and personal highlights:

Timoth David Copney (Andre) and Kevin Sockwell (Ken). Photo by Tom Lauer.

I saw a lot of Sammy Davis Jr, in Timoth Daniel Copney’s (Andre) energy and dancing and personality on the stage. He is an entertainer’s entertainer. He can do it all – dance, sing, and grab an audience in the palm of his hands – and when he is joined by Kevin Sockwell (with the gorgeous baritone and killer smile)- in “Ladies Who Sing With the Band,” and when they both get down and greasy, (where they got the audience to shout out ‘Fat and Greasy’ along with them), they play off each other like Hines Brothers. Together in these joint-performances they are pure magic!

And I can’t forget Melissa Broy Fortson’s comic touches that added to the fun of “Fat and Greasy.” This is one funny lady!

And I loved Brenda Parker’s intense and spine-tingling rendition of “Mean to Me.” It was straight from the heart and beautiful at the same time. She was so convincing that I felt like she was singing directly to me and I wanted to go right up to her and apologize after the show for being so mean to her.

And what can I say about Kevin Sockwell’s hysterical “You’re Feet’s Too Big.” Let’s just say his performance had a lot of ‘sole.’

Amber Hooper performed a fun “Keeping Out of Mischief Now” (although you knew she was not going to ever fulfill that promise), and Michelle Harmon Bruno and Copney lit up the stage with their duet “That Ain’t Right.”

And then there’s the glorious harmonies during “Black and Blue.” Filled with intensity and hopelessness and yearning – the cast hit its stride and their vocal talents were on full display.

If you ain’t feelin’ well and life’s got you down, run to Vagabond Players’ Ain’t Misbehavin’. It will cure the blues and blahs and get your feet tappin’ (whatever size they are), your fingers snappin’, and will fill your heart with love and joy. There’s nothin’ like payin’ a visit to a sizzlin’ and hoppin’ joint that’s really jumpin’!

Running Time: Approximately two hours, plus a 15-minute intermission.

Ain’t Misbehavin’ plays through November 23, 2014 at The Vagabond Players— 806 South Broadway, in Baltimore, MD (in Fells Point). For tickets call the box office at (410) 563-9135, or purchase them online.

October 20, 2014
‘The Me Nobody Knows’ at University Of Maryland School Of Theatre, Dance, and Performance Studies at the Clarice Smith Performing Arts Center

The plight of urban youth took a contemporary turn in the University Of Maryland School Of Theatre, Dance, and Performance Studies’ opening night revival of the 1970s Broadway hit, The Me Nobody Knows. Originally conceived as a personal narrative written by poor, black kids living in Harlem, Co-Directors Alvin Mayes and Scot Reese have fashioned an optimistic version of this Tony Award-nominated, Obie Award-winning show with a multicultural ensemble who ponder some of the same social questions we faced back then and give us food for thought as to how far we’ve really come.

The Me Nobody Knows began as a writing project under the tutelage of several teachers in the black public schools of Harlem. Kids ranging in age from 12 to 18 were asked to write their thoughts and feelings about “four dimensions” of life as a means to harness and positively unleash the frustrations of living in the inner city: “How I see Myself”; “How I See the World; “The World Outside” ; and “The Things I Can’t See or Touch.” What resulted turned into a book, The Me Nobody Knows: From the Ghetto written in 1969. The power and the impact of these authentic voices spawned an off-Broadway show followed by Broadway in 1970 and on to rapt audiences around the world. There’s something about innocence and authenticity that yearns to be told and to be heard. The Me Nobody Knows has spanned continents playing in theaters as far as Tel Aviv, Paris, London, Hamburg, and Johannesburg with its timeless message.

Nell (Tyasia Velines) is singing “Take Hold the Crutch”. She is singing currently to Donald (Avery Collins), Clorox (Christopher Lane), and Lillie Mae (Chioma Dunkley). Photo by Dylan Singleton.

Essentially a stream of consciousness about life and what it means to be young and impoverished, this plotless musical is rich in delving deep below the surface. It reveals the disappointment, the neglect and quest for survival in the face of confusion and the temptations of the street while holding tightly to the hopes, the dreams, and optimism for what one believes one can be. The Me Nobody Knows is a musical tribute to hope in the face of despair and leaves you with a sense that life can be good no matter what—as long as you remain true to yourself. It’s the energy and the vibrancy you bring that make all the difference and the talented cast of The Me Nobody Knows gives their all to show us exactly what that looks like.

The setting for the show is the present and we are anchored in the moment by an absolutely splendid set design by UMD grad student April Joy Tritchler. It captures the texture and tone of the inner city projects with a concrete jungle look carved from floating brick walls and verboten iron grates complete with basketball hoop. Projection Designer, Hannah Marsh, further captures the moment marking scene changes with multi-media words and images onto the backdrop. Costumes by Robert Croghan are colorful street threads with skinny jeans, plaid shirts, rolled up pants legs and funny-looking hats.

Under the Musical Direction of L. Richard Sparks, the multi-talented ensemble of actors provides all of the instrumental accompaniment themselves. Guitar, electric piano and the sax tell the story in song to go along with strong vocals. Although the instrumentals were not acoustically strong, you can’t help appreciating and applauding this cast’s ability to not only act and sing but also play the musical instruments. There was no taped piped-in music. Opening night jitters probably made for some of the off-key singing and many of the songs were a cappella, a challenge to perfect pitch.

There are some twenty tunes in The Me Nobody Knows to showcase the talent of this wonderful cast. In the first act: “Dream Babies”, “Light Sings”, “This World”, “Numbers”, “What Happens to Life”, “Take Hold the Crutch”, “Flying Milk and Runaway Plates”, “I Love What the Girls Have”, “How I Feel”, “If I Had a Million Dollars”.

“This World” and “Light Sings” were hits later made famous by the Staples Singers and the 5^th Dimension. Melba, played by Kristen El Yaouti opens the act with a belted-out quality to her rendition of “Dream Babies”. The entire company (Rebecca Mount, Chloe Adler, Noelle Roy, Chioma Dunkley, Kristin El Yaouti, Tyasia Velines, Tiziano D’Affuso, Tendo Nsubuga, Noah Israel, Avery Collins, Christopher Lane, and Sam Elmore) sing to “Numbers,” “Take Hold the Crutch,” and “If I Had a Million Dollars.”

In the second act, ten effervescent songs capture the emotional movement of the ghetto, the drugs and crime, and the “Sounds” of city life: “Fugue for Four Girls”, “Rejoice”, “Sounds”, “The Tree”, “”Jail-Life Walk”, “Something Beautiful”, “Black”, “The White Horse”, “War Babies,” and “Let Me Come In”.

What is truly amazing about this production is that, other than co-direction and musical direction, undergraduate and graduate students created this entire production. Not only the actors but also the Stage Manager and Research Dramaturg ( Cindy King), the Projection Designer (Hannah Marsh), Lighting Designer (Brittany Shemuga), Assistant Choreographer (Julia Smith), Scenic Designer (April Joy Tritchler), Assistant Musical Direction (Samy Selim), and a cast of student understudies did a fine job.

The authenticity of young people, their unbridled energy, hopeful dynamism and innocent expectancy for the future are what give The Me Nobody Knows its lasting significance. Youth will always ponder these answers to life’s questions and The Me Nobody Knows provokes you to think about just how far we have come whether its 1970 or 2014.

From L to R: (back): Catherine (Noelle Roy) & Llloyd (Noah Israel). Bottom: Donald (Avery Collins), Clorox (Christopher Lane), Lillie Mae (Chioma Dunkley), and Rhoda (Rebecca Mount). They are listening to Clorox’s Transformation Monologue. Photo by Dylan Singleton.

However, as a child of the 60s myself, I couldn’t help but react to a cast of 12 actors, 5 of whom were African Americas and the rest white performing an originally black-themed musical. To hear the ensemble unison sing “Black,” a riveting and central-themed lament with projected images of Ferguson, about the lack of dignity given the black man today, my reaction to white kids singing out in emotional intensity about these feelings gave me a sense of implausibility. I bristled at the sight. But did the director purposely cast a majority white show around themes from black life in Harlem to provoke us to think about where we have come with making social progress? Or was it to show us that we are really not in a post-racial society and the implausible image of white kids singing black themes prove it? Can we really hear folk guitar playing in the ghetto? Are white kids really concerned about the welfare system living in Harlem? The original cast of the Broadway show had 12 actors, 8 of whom were African Americans. Does a majority white cast today raise questions about how multi-cultural we have become or truly not become? It did for me.

You’ll have to go see The Me Nobody Knows yourself to answer these questions and to see what the emotions are telling you about authenticity, innocence, the present moment and hope for the future.

Running Time: One hour and 45 minutes, with one 15-minute intermission

The Me Nobody Knows plays through October 17, 2014 at University Of Maryland School Of Theatre, Dance, and Performance Studies at the Kay Theatre at the Clarice Smith Center for the Performing Arts at the University of Maryland College Park – University of Maryland Stadium Drive, in College Park, MD. For tickets, purchase them online.

October 11, 2014