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Where We Belong – An American Indian Story at the Folger Looks for Answers

Where We Belong – An American Indian Story at the Folger Looks for Answers

Folger Theatre
Jordan Wright
March 3, 2024
Special to The Zebra

Madeline Sayet in WHERE WE BELONG at Philadelphia Theatre Company. Photo by Mark Garvin.

 Full Disclosure: I wrote on Native American culture for Indian Country Media Network Magazine for eight years.

When playwright and presenter, Madeline Sayet aka Achokayis, discovers her Mohegan name means “blackbird” she imagines where flight would take her. In this one-woman show – a co-production with Woolly Mammoth – she begins her story in an airport in Sweden – a stopover on her way to London’s Oxford University where she hope to earn her PhD in Shakespearean literature. Although she is initially afraid of flying, she grants it a bit of avian symbolism. “In the sky the borders disappear,” she imagines.

Her fascination with Shakespeare stems from a need to escape the perils and pressures of being Native American. Learn the language. Overcome discrimination. Get out from under her mother’s constant reminders to, “listen to your ancestors”. But the more she learns about the history of her people – their stolen lands, the broken treaties, the forced removal – the more haunted she becomes. As she tells it in this one-woman drama, when she stands up for herself in class to discredit both British- and American-written history books, she gets pushback from her professors who are eager to sweep the ugly truths into the dustbin of history. But Sayet knows her Native American history and her determination to share that knowledge with her professor and fellow students finds her in a very precarious position. She learns the hard way it’s not politically correct to discuss the Indian Wars, the renaming of Indian lands by the British using British names, or the policies of Andrew Jackson who was responsible for the horrific Trail of Tears.

Madeline Sayet in WHERE WE BELONG at Philadelphia Theatre Company. Photo by Mark Garvin.

Sayet’s has formed an idealization of Shakespeare as an anti-Colonialist, a concept that on the surface seems extraordinarily naïve. She imagines Caliban from “The Tempest” as Shakespeare’s way of empathizing and triumphing the native, but connecting Shakespeare’s literary intent to indigenous culture becomes a bridge too far for me. Think of this production more as a black box staging with spare lighting and set design and not the sort of production usually seen at The Folger.

Apart from that Sayet’s telling gives the listener a lot of background on the history of Indian affairs in America and Great Britain and lands this play somewhere between a doctoral dissertation and her personal story. What I found more interesting was the both the tension and connection in her relationship with her mother back in America. She playacts the phone calls and we learn the pressures she is under to revive their forgotten tribal history. “Your mission is our survival,” her mother warns.

Madeline Sayet in WHERE WE BELONG at Philadelphia Theatre Company. Photo by Mark Garvin.

I found this story to be the perfect primer for high school students and adults who are ill-informed about the very real issues that American Indians face every day.

“We’re still here,” is a saying held by Native Americans to let the world know they are still on this earth and their needs and claims are valid. It also goes towards explaining the importance of the repatriation of tribal objects and ancestral remains. And if we think of this story in those terms therein lies its value.

Directed by Mei Ann Teo, Lighting, Scenic Design and Props by Hao Bai, Costume Design by Asa Benally, Musical Composer and Sound Designer Erik Schilke.

Through March 10 at the Folger Shakespeare Theatre,201 E Capitol Street, SE, Washington, DC 20003. For tickets and information call the box office at 202 544.7077 or visit www.Folger.edu.

Cock-Eyed Irreverence By South Park Creators Spells Utter Hilarity in the Side-Splitting The Book of Mormon at the National Theatre

Cock-Eyed Irreverence By South Park Creators Spells Utter Hilarity in the Side-Splitting The Book of Mormon at the National Theatre

The Book of Mormon
Broadway at The National
Jordan Wright
March 6, 2024
Special to The Zebra

Sam Nackman and Sam McLellan (Photo/Julieta Cervantes)

Hellfire and damnation figure neatly in the wacky and wonderful The Book of Mormon. With book, music and lyrics by Trey ParkerRobert Lopez and Matt Stone, creators of the four-time Emmy Award-winning animated series South Park, you’ll luxuriate in all the irreverence you can handle. And then some. Winner of nine Tony Awards, the blowout show is legendary for its comedic take on Mormonism and its 21 unforgettably zany songs plus tap dancing and sequin-clad chorus line.

The story focuses on the bicycle-riding, young men with their skinny black ties and crisp white shirts eager to convert and well-trained in proselytizing. Two-by-two they comb the earth seeking out sin and sinners and spreading “The Word”.

Sam McLellan and company (Photo/Julieta Cervantes)

Elder Price and Elder Cunningham are two of the innocenti. Recently sprung from the church’s Missionary Training Center, they are partnered up for their mission to Uganda where they’ll rendezvous with other eager young evangelists. Two more disparate comrades are impossible to conceive. Price (Sam McLellan absolutely brilliant comedic actor with a fantastic voice) is massively handsome, completely self-centered, and brimming with untested confidence. Ready to take on the world he is miffed to be conjoined with Cunningham (Sam Nackman who shines in his debut stage role), a portly nerd lacking self-worth and clinging to Price like a limpet mine to a submarine.

Hoping to prove they’ll be worthy in the afterlife, the two unlikely apostles set off on a journey that is so convoluted, so riotous and so ungodly that your hair may stand on end. At a send-off staged by their parents, replete with a dancing witch doctor who references The Lion King, the hapless accolytes are told, “You get out there and you baptize those Africans!”

Trinity Posey, Sam McLellan, and Sam Nackman (Photo/Julieta Cervantes)

Instead, the boys realize converting the whole human race is not as easy as they had been led to believe. They soon discover the natives have their own brand of mythology, and it’s not any more far-fetched than Mormon founder Joseph Smith’s story of the never-before-seen-by-a-living-soul, golden plates he personally excavated in upstate New York. These Mormon-themed side skits are re-enacted hilariously by Joseph Smith (Trevor Dorner) and the Angel Moroni (Sean Casey Flanagan) in dream sequences comparing the origins of the Latter-Day Saints to the natives’ beliefs. But which of these tales are more fanciful?

Warlords and AIDS are on the minds of the Ugandans who have a middle-finger-raised musical response to God in the number “Hasa Diga Eebowai”. Dewight Braxton, Jr. plays the one-eyed General and bloodthirsty warlord who threatens to circumcise all the girls in the village by the end of the week.

The Book of Mormon North American Tour (Photo/Julieta Cervantes)

There’s a sweet love story between the beautiful Nabulungi (Keke Nesbitt) and Cunningham, the most unlikely suitor, who woos her with dreams of a Mormon paradise. In her beautifully sung number, “Sal Tlay Ka Siti” (her African pronunciation of Salt Lake City), she places her hopes in his hands.

Though it takes a village, this is most certainly not The Sound of Music. And Nabulungi’s convincing her tribe to get baptized, isn’t based on truth – Cunningham has convoluted the church’s teachings to suit his ignorance of its contents. “I actually never read it,” he confesses. (If you’re wondering how the Mormon hierarchy reacted to the comedic blasphemy, the quote is, “You’ve seen the play. Now read the book.”) But Cunningham is determined to make Nabulungi his first convert and croons “Man Up”, describing Jesus’ bravery as “growing a pair”.

Credit to Directors Casey Nicholaw and Trey Parker plus Jennifer Werner for Direction and Choreography; Scott Pask for the Scenic Design; Sound Design by Chad Parsley; Costumes by Ann Roth; Lighting Design by Brian MacDevitt and the 12-piece kick-ass orchestra directed by Larry Hockman and Stephen Oremus. Twenty-two numbers and a nine-piece orchestra make this musical irresistible.

Highly recommended!!!

The company of the Book of Mormon North American Tour (Photo/Julieta Cervantes)

With Vince Klassen as Mormon; Sean Casey Flanagan as Moroni/Elder McKinley; Trevor Dorner as Price’s Dad/Missionary Voice/Elder McKinley/Mission President; Gideon Chickos as Cunningham’s Dad; Trinity Posey as Mrs. Brown; DeVon BuchananJustin Forward and Thomas Ed Purvis as Guards; Lamont J. Whitaker as Mafala Hatimbi; Jarret Martin as Doctor. Ensemble – Jarius Miquel CliettMatthew DantJustin ForwardCraig FrankeLars HafellKisakyeEvan LennonJoey MyersAlexis Ijeoma Nwokoji, and Chelsea M. Smith.

Through March 17th at National Theatre, 1321 Pennsylvania Avenue, NW, Washington, DC 20004. For tickets and information visit www.TheNationalDC.com.  

The World Premiere of Tempestuous Elements Shines Brightly at Arena Stage

The World Premiere of Tempestuous Elements Shines Brightly at Arena Stage

Arena Stage
Jordan Wright
February 26, 2024
Special to The Zebra

Illustration by Loveis Wise. Courtesy of Arena Stage.

Whether Psalmayene 24 is directing or writing, I know it’s a production I want to see. The pairing of “Psalm” as director of this world premiere with playwright Kia Corthron promised to be an intriguing collaboration. The story centers around teacher and school principal Anna Julia Cooper (the amazing Gina Daniels), a woman for whom the classics – Greek and Latin – and advanced mathematics were crucial to her curriculum. Anna knew that without her students mastering those subjects they’d have no chance of acceptance at Harvard or her alma mater Oberlin College as opposed to traditional HBCU colleges like Tuskegee Institute headed by Booker T. Washington whose influence at the White House afforded him the ear of the President.

Set against a Victorian backdrop, when married women were not allowed to be teachers, the play unfolds to reveal Anna and her fellow female teachers living on campus. For the most part they are all supportive of each other, but we see how professional jealousy can keep the glass ceiling firmly in place.

https://whiskandquill.com/the-world-premiere-of-tempestuous-elements-shines-brightly-at-arena-stage

Anna teaches at M Street School, a private Washington, DC school for Black high school students. After a 20-year tenure, she’s about to get the shaft. It’s insider politics at their most insidious. Throughout the play historical references, societal mores and conflicts within the Black school system work against her high ideals. And although she upholds the highest scholastic standards, she is undermined by her co-worker Minerva Jeffries, who is far more concerned with students’ punctuality than their scholastic abilities. Another teacher, Mary Church Terrell, whose husband secures a seat on the Board of Education plans Anna’s undoing. When Anna’s students begin to exceed the accomplishments of their White counterparts, she is accused of being “elitist”, overstepping her bounds as a female teacher and, in the lowest blow of all, having an affair with her foster son, John.

Gina Daniels, Brittney Dubose, Ro Boddie, Joel Ashur, and Jasmine Joy in Tempestuous Elements. Photo by Kian McKellar.

The play is a history lesson in the competing ideas as to how to educate Black students including the many restrictions placed upon administrators to not “overstep” White imposed boundaries. Invoked are the names of W. E. B. Dubois and Frederick Douglas whose styles of educating Blacks differed substantially. Set a mere two generations after slavery, it touches on the Colored Women’s League, the destruction of Reconstruction, suffragettes, human dignity and the need to educate a new generation of Black students.

I can’t say enough about the caliber of this cast – their clear passion for their roles in presenting this deeply affecting story – as well as the high level of production values in every aspect from costumes to choreography, music to set design. It’s as smooth as silk. And speaking of silk, I learned something new. To dress the men and women of the South in bespoke finery, slaves learned to produce silk by breeding silkworms and weaving the silk from their cocoons on looms. Who knew?

Renea S. Brown and Kevin E. Thorne II in Tempestuous Elements. Photo by Teresa Castracane.

With Kelly Renee Armstrong as Abigail/Lotte; Joel Ashur as Mr. Turner/Francis/Atwood/Charles; Ro Boddie as Hiram/W.E.B. Dubois/Rep. White – played by Jonathan Del Palmer on opening night; Renea S. Brown as Ernestine/Lula/Mrs. Cook/Alumni Association President; Brittney Dubose as Lucretia/Annie; Yetunde Felix-Ukwu as Minerva/Miss Patterson; Jasmine Joy as Ruth/Ivy/Josephine/Principals’ Association Representative; Lolita Marie as Hannah/Mary/Nellie; Paul Morella as Hughes; Kevin E. Thorne II as Lawrence/Silas/John/Dr. Purvis/Dance Captain. Female Understudies – Monique Paige and Renee Elizabeth Wilson.

Associate Director and Choreographer, Tony Thomas; Set Designer, Tony Cisek; Costume Designer, LeVonne Lindsay; Lighting Designer, William K. D’Eugenio; Original Music and Sound Design by Lindsay Jones; Dramaturg, Otis Ramsey-Zöe; Hair and Wig Designer, LaShawn Melton; Dialect and Vocal Coach, Lisa Nathans.

Highly recommended.

 

Through March 17th on the Fichandler Stage at Arena Stage, 1101 Sixth Street, SW, Washington, DC 20024. For tickets and information call the box office at 202 554-9066 or visit www.ArenaStage.org

What’s Onstage in the DMV – March

What’s Onstage in the DMV

Jordan Wright
February 16, 2024
Special to The Zebra

(Photo via thelehmantrilogy.com)

The Lehman Trilogy
Where: Shakespeare Theatre Company
When: Feb 22 – Mar 24
Find more information at www.ShakespeareTheatre.org

The Book of Mormon
Where: National Theatre
When: Mar 5 – Mar 17
Find more information at www.TheNationalDC.com

Through the Sunken Lands 
Where: Kennedy Center
When: Mar 2 – Mar 17
Find more information at www.Kennedy-Center.org

Songbird
Where: Washington National Opera at the Kennedy Center
When: Mar 9 – Mar 23
Find more information at www.Kennedy-Center.org

Company
Where: Kennedy Center
When: Mar 12 – Mar 31
Find more information at www.Kennedy-Center.org

Romeo & Juliet
Where: Synetic Theater
When: Now through Mar 24
Find more information at www.Kennedy-Center.org

(Photo via imagination Stage)

Inside Out and Backwards 
Where: Imagination Stage
When: Mar 2 – Mar 31
Find more information at www.ImaginationStage.org

Tempestuous Elements
Where: Arena Stage
When: through Mar 17
Find more information at www.ArenaStage.org

Little Shop of Horrors
Where: Ford’s Theatre
When: Mar 15 – May 19
Find more information at www.Fords.org

(Photo Via Port Tobacco Players)

9 to 5: The Musical
Where: Port Tobacco Players
When: Mar 1 – Mar 24
Find more information at www.PTPlayers.com

Coriolanus
Where: Avant Bard
When: through Mar 23
Find more information at www.AvantBard.org

Every Brilliant Thing
Where: Workhouse Arts Center
When: Mar 9 – Apr 14
Find more information at www.WorkhouseArts.org

Avaaz
Where: Olney Theatre Center
When: Mar 6 – Apr 7
Find more information at www.OlneyTheatrer.org

Migraaaaants
Where: Expats Theatre
When: Mar 16 – Apr 7
Find more information at www.AtlasArts.org

Más Aventuras de Don Quijote
Where: GALA Hispanic Theatre
When: Mar 9 – Mar 24
Find more information at www.GalaTheatre.org

School Girls: Or, The African Mean Girls Play
Where: NextStop Theatre Company
When: Mar 8 – Apr 7
Find more information at www.NextStopTheatre.org

(Photo via Signature Theatre)

Penelope 
Where: Signature Theatre
When: Mar 5 – Apr 21
Find more information at www.SigTheatre.org

The Princess and the Pea
Where: Creative Cauldron
When: Mar 8 – Mar 24
Find more information at www.CreativeCauldron.org

At the Wedding
Where: Studio Theatre
When: Mar 13 – Mar 21
Find more information at www.StudioTheatre.org

Moving and Unforgettable the Musical Private Jones Wows at Signature Theatre

Moving and Unforgettable the Musical Private Jones Wows at Signature Theatre

Signature Theatre
Jordan Wright
February 16, 2024
Special to The Zebra

David Aron Damane, Alex De Bard, Amelia Hensley, Johnny Link (Gomer Jones) and Emily Steinhardt (Photo/Christopher Mueller)

A little birdie told me there’s a good chance Private Jones is headed to Broadway. What I’m saying, straight out of the gate, is don’t wait to snag your tickets because this show has everything. A fresh form and concept and a singular approach to a musical that is so thrilling that it has the all the elements to be a huge hit. Writer, Composer, Book, Director and DC native Marshall Pailet has the chops plus massive industry street cred. His former employers? DreamWorks and PBS productions, plus he’s written a few notable Off-Broadway musicals.

Due to Pailet’s massive talent, this world premiere production has already drawn in some high-level producers with Broadway experience. (I couldn’t get my nose out of the playbill scanning the multiple, italicized blockbuster shows and multiple theatre awards credited to this impressive creative team.)

What makes this war story so unique and so riveting is Gomer Jones (Johnny Link). Gomer is Deaf, a result of meningitis as a boy, as a result he has “remembered” speech and can lipread. (Notably, a few cast members are Deaf.) The program tells us World War I had Deaf soldiers who served in many capacities. Discovering this story drove Pailet to write this tri-lingual musical featuring signing in two languages – American Sign Language (ASL) and British Sign Language (BSL) and the script in spoken English.

Johnny Link (Gomer Jones) and the cast of Private Jones at Signature Theatre (Photo/Daniel Rader_

As a boy Gomer’s father teaches him to shoot the wild dogs that vex their sheep. Though he balked initially, the experience taught him to become a crack shot. As for the audience’s ability to translate sign language, you needn’t worry. There are surtitles which I found useful as the characters speak with a Welsh dialect which can get tricky, and then there’s The Storyteller (Amelia Hensley) who narrates the plot.

The story is set in Breconshire in South Wales. The town’s young men are being called to duty and Gomer wants to go. But at his medical exam the doctor realizes he’s Deaf and turns him away. Disappointed he goes back to the village and his sheep farm. One day he shoots a wild dog but doesn’t kill it. He takes it to a sympathetic nurse, Gwenolyn (Leanne Antonio), who saves the dog. “Every soul’s a soul.” Telling him he is needed in the war effort, she finds him a job at a munitions factory. Later with the rising toll of battle fatalities, Gomer fakes his hearing test and gets into the British army where he becomes an elite sniper aided by his “spotter” King (Erin Weaver in one of her finest roles).

Alex De Bard, Johnny Link (Gomer Jones) and Erin Weaver (King) (Photo/Christopher Mueller)

There Gomer meets up with his fellow Breconshire “borderers”. They figure out he’s Deaf and learn to communicate through a smattering of sign language. All this sounds rather tame, but the tension and raw emotions of the front are palpable, and the sounds of war are everywhere as Gomer faces the frightening scene – in the heat of a battle he cannot hear.

This is a gritty, pulsing, edge-of-your-seat drama lightened with bawdy gallows humor and a sweeping score with 22 beautiful ballads. How that is achieved is due in no small part to a strategically-cast, perfectly meshed ensemble, mood-setting lighting and effects by Lighting Director Jen Schriever and the gorgeous music and lyrics written by Marshall Pailet.

Highly recommended!!! Moving and unforgettable.

Vincent Michael (Edmund) and the cast of Private Jones at Signature Theatre. (Photo/Daniel Rader_

Leanne Antonio as Gwenolyn/Evans; Deimoni Brewington as Bailey; David Aron Damane as Father/Drill Sergeant/Major; Dickie Drew Hearts as Henry; Vincent Michael as Edmund; Jake Loewenthal as Redvers. Ensemble Members – Alex De BardVincent MichaelGeorge Psomas, and Emily Steinhardt.

Director of Artistic Sign Language Alexandria Wailes; Choreographed by Misha Shields; Music Directed by Myrna Conn; Costume Design by Phu’ong Nguyen; Sound Design by Eric Norris; Scenic Design by Christopher & Justin Swader; Video Design by Patrick W. Lord; Dialect Coach Catherine Flye; Orchestrations by Ryan O’Connell. Dance Captain, Emily Steinhardt; Artistic Sign Language Captain, Amelia Hensley; and Fight Captain, Vincent Michael.

Through March 10th at Signature Theatre, 4200 Campbell Avenue in the Village at Shirlington, Arlington, VA 22206. For tickets and information call the box office at 703 820-9771 or visit www.SigTheatre.org

Mega-Musical Ain’t Too Proud – The Life and Times of The Temptations – Now at the Kennedy Center

Mega-Musical Ain’t Too Proud – The Life and Times of The Temptations – Now at the Kennedy Center

John F. Kennedy Center for the Performing Arts
Jordan Wright
February 15, 2024
Special to The Zebra

(L – R)- Michael Andreaus, Jalen Harris, Harrell Holmes Jr., Elijah Ahmad Lewis, E. Clayton Cornelious (Photo Credit: ©2023 Emilio Madrid)

Ain’t Too Proud debuted on the Kennedy Center stage in 2018 when it opened in DC before heading directly to Broadway. We thrilled to the musical and the extraordinary performances then. But since going to Broadway the show has amped up every single production value from the electrifying choreography by Sergio Trujillo, to the scenic design by Robert Brill and Projection Design by Peter Nigrini. For two and half hours, time stops. If you blink, you’ll miss everything cool you ever knew. Your heart will race, your jaw drop and your feet won’t stop toe-tapping. This is one of the most exciting musicals you will ever see. It is sheer entertainment from curtain up to the final wild applause.

Brittny Smith, Amber Mariah Talley, Shayla Brielle G. (Photo Credit: ©2023 Emilio Madrid)

Jam-packed with hits from America’s number one R&B/Soul/Funk/Pop group of the 50’s, 60’s and 70’s, this bio-musical from the Berkeley Repertory Theatre is a blast-from-the-past, an oldies-but-goodies mega hit. Told through the eyes of Otis Williams (Michael Andreaus), the group’s founding member, the story takes us on a top-of-the-pops journey from the original foursome’s Detroit roots on Euclid Avenue through its heyday under über producer Berry Gordy (Jeremy Kelsey) with songs written by Smokey Robinson (Derek Adams who also plays Damon Harris).

Through the years the group gained and lost members from the originals – David Ruffin (played by the spectacular Elijah Ahman Lewis), Eddie Kendricks (a riveting Jalen Harris), Melvin Franklin (the silken bass of Harrell Holmes, Jr.) and Paul Williams (E. Clayton Cornelious – played without missing a beat by understudy Brian C. Binion on opening night). The group’s veteran agent, Shelly Berger (Ryan M. Hunt), was tasked with guiding their sound and keeping them in line.

Brittny Smith (Photo Credit: ©2023 Emilio Madrid)

Though the story guides us through their triumphs and tragedies and the ebb and flow of group member changes, the show hangs on fiercely to their mega-hits – hits that a generation of us danced to, made out to and even got married as we sang along to their soulful love songs. But don’t think for a minute that the audience was a bunch of aging baby boomers clinging to memories of their teenage years. That couldn’t be farther from the truth. I looked around to see who was there – who was tapping their toes, mouthing the lyrics and bobbing their heads, and they were all ages. Because you cannot sit still to this energy-pumping, concert-style musical – certainly not while watching the performers execute the highly-stylized, synchronized dance movements The Temptations made famous or the exquisite harmonies of the group of five performing 30 of their platinum hits. These were the tunes that backgrounded family BBQs, birthday parties, dance parties and discothèques. Melodies that were listened to on car radios and record players and on street corners where quartets would spring up like weeds. There is so much joyfulness in the early music – “My Girl”, “I Can’t Get Next to You”, “If You Don’t Know Me by Now”, “Cloud Nine” and so many more.

National Touring Company of Ain’t Too Proud (Photo Credit: ©2023 Emilio Madrid)

When the scene changed with the death of Martin Luther King, Jr., John Kennedy and Bobby Kennedy, the group’s music – “War”, “I Wish It Would Rain” and “Ball of Confusion” – reflected societal upheavel. Just as “Papa Was a Rollin’ Stone” reflected the psychedelic era.

The musical is backdropped with period-centric projections by Peter Nigrini of Sponge Bob Square Pants and Amélie fame and choreographed to a gold standard by Sergio Trujillo known for his work on Jersey Boys and On Your Feet. Familiar with Dancing with the Stars? Orchestrations are by the show’s 18-year veteran musical director, Harold Wheeler with music directed and arranged by the legendary Kenny Seymour. Multi Tony Award-winning Director Des McAnuff puts it all together and it’s as tight as the group’s pegged trousers and trim sharkskin jackets or the sequined gowns worn by Diana Ross and The Supremes who make an appearance along with music icon Tammi Terrell (Shayla Brielle G.), all of whom are costumed by Paul Tazewell veteran designer of Hamilton and a ton of other blockbuster Broadway hits.

Book by Dominique Morisseau.  Based on the book “The Temptations” by Otis Williams with Patricia Romanowski. Music and lyrics from The Legendary Motown Catalog.

Highly recommended! If I gave out stars, which I don’t, I would give it five stars!

National Touring Company of Ain’t Too Proud (Photo Credit: ©2023 Emilio Madrid)

Through February 18th at The Kennedy Center for the Performing Arts, 2700 F St., NW, Washington, DC.  For tickets and information call 202 467-4600 or visit www.Kennedy-Center.org.