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What’s Onstage in the DMV for June and July

What’s Onstage in the DMV for June and July

What’s Onstage in the DMV

June and July

Jordan Wright

May 11, 2025

Special to The Zebra

A Wrinkle in Time via Arena Stage

Arena Stage – A Wrinkle in Time  June 12th – July 15th

We Are Gathered through June 15th  www.ArenaStage.org

 

The Little Theatre of Alexandria – The Play That Goes Wrong  June 7th – June 24th  www.TheLittleTheatre.com

 

Studio Theatre – Wipeout  June 18th – July 27th  www.StudioTheatre.org

 

Perisphere Theater – Marie Antoinette: The Color of Flesh June 6th – June 21stwww.PerisphereTheater.com

 

Toby’s Dinner Theatre – Disney’s The Little Mermaid  through Aug 17th www.TobysDinnerTheatre.com

 

Imagination Stage – Dory Fantasmagory  Jun 18th – Aug 3rd www.ImaginationStage.org

 

Ain’t Too Proud – The Life and Times of the Temptations via Broadway at The National (Photo/Joan Marcus)

Broadway at The National – Ain’t Too Proud – The Life and Times of the Temptations  June 17th – June 22nd  www.TicketMaster.com

 

Everyman Theatre – The Mystery of Irma Vep – A Penny Dreadful through June 22nd  www.EverymanTheatre.org

 

1st Stage Theatre – The Piano Lesson  Jun 5th – Jun 22nd  www.1stStageTheatre.org

 

Keegan Theatre – Falsettos  through June 15th  www.KeeganTheatre.com

 

Synetic Theater – A Midsummer Night’s Dream  July 17th – Aug 10th www.SyneticTheater.org

 

Shakespeare Theatre Company – Frankenstein through June 29th

Duel Reality July 1st – July 20th

www.ShakespeareTheatre.org

The Berlin Diaries via Theatre J

Theatre J – The Berlin Diaries  June 4th – June 15th  www.EDCJCC.org

 

Signature Theatre – Hedwig and the Angry Inch through June 22nd

The Untitled Unauthorized Hunter S. Thompson Musical  through Jul 13th

Signature Theatre and Wolf Trap Present Broadway in the Park  June 28th

www.SigTheatre.org

 

Olney Theatre – Senior Class through June 22nd

Kim’s Convenience  June 25th – Jul 27th

www.OlneyTheatre.org

 

Atlas Arts Mosaic Theatre – Andy Warhol in Iran  through June 29th www.AtlasArts.org

 

The Kennedy Center – Dungeons & Dragons – The Twenty Sided Tavern  July 22nd – Aug 3rd

Les Miserables  June 11th – July 13th

www.Kennedy-Center.org

 

The Puppet Company – Twisted Tales: The Three Goldilocks Gruff   June 7th – June 29th www.ThePuppetCompany.org

 

Creative Cauldron – Disney’s Aladdin  through June 15th www.CreativeCauldron.org

 

Folger Theatre – Twelfth Night through June 22nd  www.Folger.edu

 

Workhouse Arts Center – Jesus Christ Superstar through June 15th www.WorkhouseArts.org

 

Round House Theatre – King James through June 22nd www.RoundHouseTheatre.org

A Lovely Day to Kill Your Spouse via Dominion Stage

Dominion Stage – A Lovely Day to Kill Your Spouse  June 13th – June 21st www.DominionStage.org

 

Providence Players of Fairfax – Shooting Star  June 6th – June 24th www.ProvidencePlayers.org

 

The Gaithersburg Arts Barn – Bull in a China Shop  June 6th – June 22nd www.GaithersburgMD.gov

 

Arlington Players – You’re a Good Man, Charlie Brown  June 6th – June 8th and June 13th – 15thwww.TheArlingtonPlayers.org

 

Be sure to check with your favorite theaters to discover summer theater camps and classes for kids and adults.

Passion and Danger Clash in Dominique Morriseau’s Breathtaking Drama Paradise Blue at Studio Theatre

Passion and Danger Clash in Dominique Morriseau’s

Breathtaking Drama Paradise Blue at Studio Theatre

Paradise Blue

Studio Theatre

Jordan Wright

May 5, 2025

Amari Cheatom (Blue) and Marty Austin Lamar (Corn) in Paradise Blue at Studio Theatre (Photo/DJ Corey Photograhy)

Passion, danger and business clash in 1949 Detroit in this breathtaking drama from Playwright Dominque Morisseau – part of her Detroit trilogy. A drama so explosive and emotionally charged it will have you leaning in hard. Set in the Black Bottom neighborhood in 1949, a man named Blue runs the Paradise Club with an iron hand, a fierce loyalty to his trumpet and his love for a naïve young woman named Pumpkin. The hot-headed Blue is haunted by the demons of his father, who was also a trumpeter and whose murderous sins cast a long shadow of guilt onto Blue.

 

Blue’s house band, the Blue Black Bottom Band, consists of Blue on horn; Corn, a tender-hearted piano man with a soft spot for Silver; P-Sam, a man frustrated with his life and consumed with secret dreams of acquiring the Paradise and Pumpkin; and a bassist who recently quit the band. It’s a successful joint with no real reason for Blue to sell, except the mayor has plans to buy up the old buildings and gentrify this long-established Black neighborhood. Blue sees it as an opportunity to take the money and run when along comes Silver from New Orleans. Silver is a savvy, sultry, take-no-prisoners beauty who captivates the men. Blue tells her, “We don’t need your backwater hoodoo!”

Ro Boddie (P-Sam) and Anji White (Silver). (Photo/Margot Schulman)

She rents a room above the club and quickly insinuates herself into the dynamics of the club’s business while teaching Pumpkin, a poetry lover, the fine art of being an independent woman.  Nicknamed the “Spider Woman” for her way with men, Silver freely admits she shot and killed her husband and she’s still packing a loaded gun. “I prefer the heat in the bedroom, not the kitchen,” she tells Pumpkin.

 

Brilliantly staged, dynamically directed and exquisitely performed in the new Victor Shargai Theatre, the room is set up cabaret style with a long bar offering an extensive drink and light fare menu by Kbird. Patrons are seated at small round tables with full view of the room and a small stage where some of the action takes place, but it’s mostly immersive as the actors move freely throughout the room.

Kalen Robinson (Pumpkin) and Amari Cheatom (Blue). (Photo/DJ Corey Photography)

Paradise Blue is one of the very best works this reviewer has seen. A powerhouse of a play evoking some of the greatest American playwrights. (I felt Tennessee Williams and August Wilson were in that very room.) Every element from cast to production was impeccably thought out – acting, lighting, staging, set design, sound design, costumes and musical direction.

 

Highly recommended! An absolute triumph!!!

 

With Kalen Robinson as Pumpkin; Amari Cheatom as Blue; Ro Boddie as P-Sam; Marty Austin Lamar as Corn; and Anji White as Silver. Musicians – Mark Saltman as Bassist and Michael A. Thomas as Trumpeter.

 

Directed by Raymond O. Caldwell; Set Design by Lawrence E. Moten III; Costume Design by Cidney Forkpah; Sound Design by Matthew M. Nielson; Fight Coordinator, Robb Hunter; Intimacy Coordinator, Sierra Young; Dramaturg, Adrien-Alice Hansel.

 

Through June 22nd at Studio Theatre, 1501 14th Street, NW, Washington, DC 20005. For tickets and information call the box office at 202-332-3300 or visit www.StudioTheatre.org.

Apple’s Inventor Featured in a Fascinating New Opera at the Kennedy Center

Apple’s Inventor Featured in a Fascinating New Opera at the Kennedy Center

The (R)evolution of Steve Jobs

Washington National Opera

The John F. Kennedy Center for the Performing Arts

Jordan Wright

May 4, 2025

 Special to The Zebra

John Moore (Steve Jobs) in The (R)evolution of Steve Jobs, Washington National Opera at The John F. Kennedy Center for the Performing Arts. (Photo/Scott Suchman)

In a unique opening, composer Mason Bates strikes the perfect complement to the characters using saxophone, guitar and the electronika from Apple equipment to represent the major characters – electric guitar for Steve Jobs, saxophone for Steve “Woz” Wozniak, and wind-like instrumentation for Jobs’ spiritual mentor Kōbun Chino Otogawa. Against a backdrop of several dozen video monitors to reflect his life and times the story, set in 17 separate scenes, begins to unfold. It’s Bates’ first opera and it’s a stunner. And so is the cast! I was captivated by baritone John Moore’s portrayal of Jobs, though you may see it during its short run with John Patton in the role.

Presented by the Washington National Opera, Mark Campbell’s libretto takes us through Jobs’ life as a child circa 1965 inspired by his father’s encouragement to build something mechanical; through his collaboration with Woz (Jonathan Burton or Nicholas Huff), the technological genius; his free spirit lover, Chrisann Brennan (Kresley Figeroa or Anneliese Klenetsky); his relationship to a spiritual life with Otogawa (Wei Wu); and his marriage to his beloved Laurene Powell Jobs (Winona Martin).

Chrisann Brennan (Kresley Figueroa), John Moore (Steve Jobs), and Winona Martin (Laurene Powell Jobs). (Photo/Scott Suchman)

Jobs and Woz considered themselves radicals of the period, anti-establishment, anti-capitalist members of the counterculture that had its beginnings in California. Working together in a family garage in Cupertino, Woz creates new technology that allowed for free phone calls, by copying the telephone tones of Ma Bell and ye olde rotary phone. This revolutionary tactic cemented the beginning of their odyssey together and Jobs’ eventual power mad mania to create the ultimate device – the smart phone.

Set in 2007 in a large convention center, Jobs launches his product to a sea of adoring acolytes. “Never trust a computer you can’t fit in your pocket,” he famously told the young techies. “Type, type, type… swipe!” he commands.

The cast of The (R)evolution of Steve Jobs. (Photo/Scott Suchman)

When Jobs devolves into a self-centered egomaniac, Woz quits, “You’ve become one of the people we hated – a Goliath!” Laurene begs him to slow down, to rest. They know by now of his disease and the cancer that will take his life at 56 years old. Along the way the zigs and zags of his life are reflected by the intensity of the music (Jobs was a huge fan of Bach and saw music in mathematics) and the poetry of Campbell’s libretto that transcends the ordinariness of a life steeped in technology to reflect the drama of a visionary genius who reached supersonic status and changed the entire world as we knew it.

This modern opera has all the dramatic elements of a tragedy plus love story backgrounded by the thrill of a massive revolution in technology through the invention of a product that brings us together as readily as it can tear us apart. As composer and Virginia native, Mason Bates, puts it, “The story of Steve Jobs is the stuff of opera. It’s got obsession, betrayal, passion and ultimate betrayal and death that might have been able to be avoided had Steve Jobs been a little more willing to cede control of his health to others.”

John Moore (Steve Jobs), Jonathan Burton (Steve Wozniak), and Wei Wu (Kōbun). (Photo by Scott Suchman)

With the Washington National Opera Orchestra and Washington National Opera Chorus conducted by Lidiya Yankovskaya alternately Micah Gleason; Production and Staging by Tomer Zvulun; Scenery and Costume Designer Jacob Climer; Projection Design by S. Katy Tucker; Lighting Design by Robert Wierzel; Sound Design by Rick Jacobsohn.

Highly recommended!

Through May 10th at the Kennedy Center, 2700 F Street, Washington, DC 20566. For tickets and information call the box office at 202-467-4600 or visit www.Kennedy-Center.org.

Hedwig and the Angry Inch Slays with Sawyer Smith in the Lead Role at Signature Theatre

Hedwig and the Angry Inch Slays with Sawyer Smith in the Lead Role at Signature Theatre

Hedwig and the Angry Inch
Signature Theatre
Jordan Wright
April 26, 2025

When Hedwig and the Angry Inch finished its premiere Broadway run, Signature made the decision to mount this niche production. That was 26 years ago. Now in their 35th season, Signature is re-staging this four-time Tony Award-winning rock musical.

Directors of Hedwig have free rein to create adlibs for the script and the actors do too, affording a wide berth to interpret the script with both topical and regional humor. In in our area that means politics. Inside the Beltway mixing politics and theater guarantees a hugely receptive audience, especially given our current political and regional climate. And for a non-federally funded theater with a progressive board and deep-pocket donors, that translates to free license to mount edgy, intriguing and controversial theatre.

Sawyer Smith (Hedwig) in Hedwig and the Angry Inch at Signature Theatre. (Photo/Daniel Rader)

With that said creator/writer/original cast performer John Cameron Mitchell (who refers to Hedwig as “genderqueer”) in partnership with composer/writer Stephen Trask, allowed for countless reinterpretations to keep the show both current and relevant. This production ushers in the 50thAnniversary of World Pride celebrations in the nation’s capital.

Born male in East Berlin in 1961 before the wall came down, Hedwig, neé Hansel (note the lederhosen), is the child of an absent Army officer father and a cruel and loveless mother. As a child he referred to himself as a “girly boy” who liked to dress in drag. In his teen years, he meets Luther, a soldier eager to encourage his tendencies and who will become his sugar daddy. One day, Luther tells Henry he will marry him, but he will need to have a sex change operation. When Henry wakes up the botched job leaves him with an inch of his manhood.

Vanessa (V) Sterling (Yitzhak), Sawyer Smith (Hedwig), and Joanna Smith (Bass) (Photo/Daniel Rader)

Hansel, now Hedwig (Sawyer Smith), is abandoned by Luther and soon meets Tony, a rock musician. She writes all of Tony’s material and his star ascends, but he too abandons her. It’s 1989 and she winds up in a mobile home in Kansas divorced, penniless and a woman. But despite all that, Hedwig, no slouch to show biz and the glam world of rock, decides to hit the boards with the help of her new husband Yitzhak (Vanessa (V) Sterling) who is as mercurial as a snapdrake – alternating between servile and surreptitious.

Accompanied by a four-piece band Hedwig, now in eye-popping costumes and towering wigs, performs an androgynously hilarious act filled with trash and flash. Their music is an amalgam of punk rock, glam rock and head-banging heavy metal and reminds me of the Russian feminist anti-Putin rock group “Pussy Riot”.

Vanessa (V) Sterling (Yitzhak) (Photo/Daniel Rader)

This immersive production snatches life at every turn with cheesy jokes, sassy quips and audience participation. Sit in the front row if you dare – or if you like. The music veers from mosh pit raucous to beautifully tender ballads with Hedwig revving up the audience with twirls and whirls, high kicks and massive allure as her story unfolds.

Chicago actor Sawyer Smith is riveting and reckless. You can’t look away for a second. She has the charisma and vocal chops to captivate the audience who lap up every minute. Sterling is a perfect vocal match to Smith and their harmonies are most especially lovely in the ballads.

Vanessa (V) Sterling (Yitzhak) and Sawyer Smith (Hedwig) with Marika Countouris (Keyboard), Sam Carolla (Drums), Joanna Smith (Bass), and Alec Green (Guitar) (Photo/Daniel Rader)

With The Angry Inch Band of Sam Carolla on drums; Marika Countouris on keyboard and as Music Director; Alec Green on guitar; and Joanna Smith on bass guitar.

Directed by Ethan Heard, Text by John Cameron Mitchell, Choreography by Ashleigh King, Costumes by Eric Teague, Scenic Design by Richie Ouellette, Lighting Design by K Rudolph, Sound Design by Eric Norris, Wig & Makeup Design by Ali Pohanka.

Recommended for grown-ups of all stripes. Wave your freak flag and join the madly wacky world of Hedwig.

Through June 22nd at Signature Theatre, in the Village of Shirlington, 4200 Campbell Avenue, Arlington, VA. For tickets and information call the box office at 703.820.9771 or visit www.SigTheatre.org

Broadway Star Melissa Errico Will Present “The Story of a Rose: A Musical Reverie on The Great War” a Scintillating Evening of Song and Story at the Rachel M. Schlesinger Concert Hall 

Broadway Star Melissa Errico Will Present “The Story of a Rose: A Musical Reverie on The Great War” a Scintillating Evening of Song and Story at the Rachel M. Schlesinger Concert Hall 

Interview with Melissa Errico
By Jordan Wright
April 18, 2025

Melissa Errico’s Upcoming Show

The Story of a Rose: A Musical Reverie on The Great War will star Melissa Errico in a world premiere performance on May 7th for one night only at Alexandria, Virginia’s Rachel M. Schlesinger Concert Hall and Arts Center. In a unique mix of song and speech of the period, Errico relates the story of the oft-overlooked epoch of World War One in all its complexities. Produced by The Doughboy Foundation the concert benefits its work in support of America’s National World War I Memorial in Washington, D.C. The show is also presented by the Gary Sinise Foundation. Established by actor and humanitarian Gary Sinise to honor our nation’s defenders, veterans, first responders and their families, the organization creates and supports original programming designed to entertain, educate, inspire and support these heroes.

As an actress, recording artist and writer Melissa Errico has been called, at her Carnegie Hall debut in 2022, “a unique force in the life of the New York theater– there’s no one quite like her!” A Tony-nominated actress for her mentor Michel Legrand’s “Amour” on Broadway and star of such Broadway musicals as “My Fair Lady”, “High Society”, “White Christmas”, “Les Misérables and other smash hit shows, she has come into her own in recent years with concerts and cabarets, touring the world in productions that spin together a vital and witty script with her sublime voice that had Opera News dub her “the Maria Callas of American musical theater.” The songbooks of Stephen Sondheim and Michel Legrand, among others, have been the subjects of her solo concerts. Her 2019 album “Sondheim Sublime” was called, by the Wall Street Journal, “The finest solo Sondheim album ever recorded.”  Currently, Errico is touring her new album, the acclaimed “Sondheim in the City” – that will culminate in her London solo concert hall debut at Cadogan Hall on July 12, 2025.

Melissa Errico (Photo/Michael Hull)

She has also recently appeared as Mrs. Patrick Campbell in the play “Dear Liar” at the Irish Rep and premiered the role of Eleanor of Aquitaine last fall in an unforgettable concert at the Metropolitan Museum’s Cloisters, singing a new David Shire/Adam Gopnik musical penned expressly for her. Errico writes regularly about the comic twists and turns in the life of a performer for The New York Times in a series dubbed by the newspaper “Scenes From An Acting Life”.

From Paris, where she appeared last summer with her frequent concert mate Isabelle Georges at the Bal Blomet, to London, where she is a regular at Crazy Coqs cabaret – from the Elysée Palace to the stages of the Grand Rex, Montreal Jazz Festival and Carnegie Hall – she brings her inimitable mind, spirit, voice and soul to audiences around the world.

This orchestral one-woman concert, enhanced with evocative visuals, ravishing period costumes, and an all-star jazz ensemble is a stylish and deep reflection on World War I. Using her own great Aunt Rose as her avatar, and the Ziegfeld Follies that Rose starred in as a frame, Errico recreates the songs, hopes and loves of the people of the time. Additionally, acclaimed Broadway actor/musician George Abud (Lempicka, The Untitled Unauthorized Hunter S. Thompson Musical, The Band’s Visit) assists in a variety of onstage roles.

—————————–

What drew you to this subject matter? Are you a history buff?

As an art history major, I love doing historic recreation on stage. I’ve played Jefferson’s epistolary lover Maria Cosway in a play, and most recently Eleanor of Aquitaine in a new musical by David Shire and Adam Gopnik. So, when Dan Dayton of the Doughboy Foundation approached me about creating a work on stage with music about the Great War, I leapt at it.

Tell me about your Aunt Rose as your inspiration for this new work?

My Great Aunt Rose was a kind of presiding mysterious figure throughout my childhood. She was a Ziegfeld Follies girl of extraordinary beauty and glamour and I recall her red lipstick and constant cigarettes. She was an Italian immigrant newly arrived in the United States when the war began, so she seemed the perfect heroine for our story. Of course, I’ve reworked her story for dramatic purposes, but her essence is true. She was one of that generation of immigrants to America who sought out opportunities. Fortuitously, she was discovered by Ziegfeld in a subway restaurant, and he made her a star. Later she faced tragedies that often come with sudden stardom – the wrong men, the wrong choices and never enough money. The life of a Follies girl was no longer than the life of a rose.

Aunt Rose in Feathers

Where else will you be performing this?

Dan Dayton plans to make it a permanent touring show, so I’d be delighted to take it anywhere that will welcome us. New York, of course, is always the ultimate destination for a show girl of any generation.

What are your plans for promoting this? Are they filming it? Will you be televising it? Touring college campuses?

I’ve been so consumed with creating the show that I haven’t focused on its extensions, but I do hope they make a record of it – live stream or permanent video – and of course I’d go joyfully to any college that wants it, and us.

Melissa Errico

How did you first get into performing? Who were your earliest inspirations?

On my twelfth birthday, my parents took me to a Broadway revival of “On Your Toes”, the Rodgers & Hart show. By intermission I was weeping. It was so compelling. I hardly realized it was a musical comedy – it was just a dream world I needed to enter, like Alice in Wonderland. “Who are these people?”, I demanded of my mother. “How did they get up there?”. I wasn’t being facetious. I needed to know. In a sense, the rest of my life has been about answering that question.

How old were you when you knew this was what you wanted to be?

At 12 I started going to a summer theatre camp, where I got to do one musical after another. I remember being in a student production of “Bye Bye Birdie” and the audience, including my father, a classical musician, was struck by my singing. I discovered I was pretty good at it. So, by the end of my teens, I knew exactly what I wanted to do, and set out to do it. By my early twenties I was already on Broadway. Early success of that kind is both a blessing – you find out what the real thing is like – and a kind of cautionary tale. Throughout my career I’ve found new paths and a desire to include different musical genres.

Melissa Errico

What is it about the American Songbook that you love so much?

It’s funny – when an opera singer like Renee Fleming, sings Schubert or Verdi or whatever, nobody asks them why they like performing that music, or implies that it’s ‘nostalgic’. It’s just part of the musical heritage of humanity. I feel that way about Irving Berlin, Jerome Kern and Cole Porter and Rodgers & Hart and all the rest of the great Broadway songwriters. It’s just great music with wonderful lyrics.

Yip Harburg, whose words I love to sing, once notably said. “A song is an idea turned into an emotion.” When I sing his music or those of other great artists, I sense I’m living in a world of feeling and in a world of wit. That combination brings meaning to my life and, if it’s done right, communicates with an audience of any age or background. Some of my best concerts of American classics have been in Singapore. There’s been nothing like it. I remember reading that the great theater critic Kenneth Tynan once said that people just had to recognize that in the middle of the twentieth century the great European musical traditions had emigrated to America and become the music of Broadway and Tin Pan Alley. I think that’s true.

What drew you to Steven Sondheim and Michel Legrand?

They were the two mentors of my musical life. Sondheim for me is the greatest of the great American songwriters – the most musically complex, the most emotionally intricate, the most demanding, and the most rewarding. I’ve done two Sondheim recordings now – he helped enormously with the first while he was still alive – and I know I still have more Sondheim inside me. Working with him, and for him, on a series of shows – “Sunday in the Park with George” and “Passion” – is still the highlight of my theatrical career. Since I was a girl, Michel had been a part of my life, though he didn’t know it. His music became the seduction music in my household. It’s what my father played to entice my mother. I starred in his one Broadway musical, “Amour” and after it closed, he insisted that we do an orchestral record, which became “Legrand Affair”.  Michel was one of those uniquely creative people, I’ve only known one or two, whose art just poured right out of them, unspooling before your eyes. You had to stop him before he forgot the music he had just made! They couldn’t be more unlike, Steve and Michel, the arch-sophisticate gay New Yorker and the ingenuous French jazz lover, one acidic and the other ardent. But I loved them both, still do. I suppose they capture the two sides of my own character, intellectual and romantic.

Melissa Errico Performing

How do you juggle motherhood and traveling?

It’s a constant struggle, as for any mother. I did an essay for The New York Times about being a ‘girl singer’ on the road that tried to capture some of the contradictions. Sondheim wrote about it in the song, “The Glamourous Life!”.  It isn’t.

I adore my three daughters – the oldest one is now at Duke University. The twins are getting ready for their own leap away from home. They’re the greatest joys of my life and they lift my heart with their laughter and love and beauty every time I see them. Of course, I worry about being away from them, but I pray that giving them the model of a woman fulfilled by her work makes up for sometimes having to say goodnight on FaceTime.

Melissa Errico with her family

Do you accompany your husband Patrick McEnroe to the tournaments?

When the girls were little, we always made Wimbledon a family holiday. As ‘Mayor of the U.S. Open’, that tournament has become a family event as well. I’ve learned so much about competition, discipline and resilience from being absorbed into his tennis world.

What was it like to go to the Palais in France for a dinner with the President of France? 

That was one of the epic moments of my lifetime. It shows you what a girl from Manhasset I still am, that when the invitation arrived to have dinner with the President of France at the Elysée Palace, I wrote back to make sure I was invited. I thought there must have been some mistake, but they couldn’t have been more welcoming or charming. I got to dress up and pretend to be a French aristocrat out of “Liaisons Dangereuses”. I love France and sharing a summer performance date in a Paris cabaret with my friend and frequent partner Isabelle Georges (another Michel protégé) has been one of my most treasured shared occasions.

Melissa Errico at The Palais in France

On May 7th 2025 at the Rachel M. Schlesinger Concert Hall and Arts Center, 4915 East Campus Drive, Alexandria, VA 22311. For tickets and information visit – https://thedoughboyfoundation.ticketspice.com/the-story-of-a-rose-a-musical-reverie-on-the-great-war

What’s Onstage In The DMV – May & June

What’s Onstage In The DMV

May – June
Jordan Wright
April 15, 2025
Special to The Zebra

The Little Mermaid via Toby’s Dinner Theater

Disney’s – The Little Mermaid
May 23rd – Aug 17th
www.TobysDinnerTheatre.com

Head Over Heels
Constellation Theatre
May 1st – June 1st   www.ConstellationTheatre.org

We Are Gathered
Arena Stage
May 16th – June 15th
www.ArenaStage.org

A Wrinkle in Time
Arena Stage
June 12th – July 15th
www.ArenaStage.org

Simply Roberta: A Roberta Flack Tribute Concert
MetroStage at The Lyceum
May 12th and May 13th
www.MetroStage.org

The Music Man
Toby’s Dinner Theatre
through May 18th.
www.TobysDinnerTheatre.com

Akira Kurosawa Explains His Movies and Yogurt (with live and active culture)
Woolly Mammoth
May 4th – June 1st
www.WoollyMammoth.net

Ain’t Too Proud – The Life and Times of the Temptations
Broadway at The National
June 17th – June 22nd
www.TicketMaster.com

Kimberly Akimbo via Broadway At The National

Kimberly Akimbo
Broadway at The National
May 20th – June 1st
www.ticketmaster.com

Othello
Port Tobacco Players
May 2nd – May 18th
www.PTPlayers.com

The Mystery of Irma Vep – A Penny Dreadful
Everyman Theatre
May 18th – June 22nd
www.EverymanTheatre.org

Circus of the Self
Spooky Action Theatre
May 29th – June 5th
www.SpookyAction.org

 Falsettos
Keegan Theatre
May 10th – June 15th
www.KeeganTheatre.com

 The Tragedy of Hamlet, Prince of Denmark
Avant Bard
May 1st – May 23rd
www.AvantBard.org

The Berlin Diaries
June 4th – June 22nd
Theatre J
www.EDCJCC.org

Hedwig and the Angry Inch
Signature Theatre
through Jun 22nd
www.SigTheatre.org

The Untitled Unauthorized Hunter S. Thompson Musical Via Sagnature Theatre

The Untitled Unauthorized Hunter S. Thompson Musical
June 3rd – Jul 13th
www.SigTheatre.org

Broadway in the Park
Signature Theatre and Wolf Trap Present
June 28th
www.SigTheatre.org

Senior Class
Olney Theatre
May 16th – June 22nd
www.OlneyTheatre.org

Andy Warhol in Iran
Atlas Arts Mosaic Theatre
May 29th – June 29th
www.AtlasArts.org

Frankenstein
Shakespeare Theatre Company
May 27th – June 22nd
www.ShakespeareTheatre.org

Dungeons & Dragons – The Twenty Sided Tavern
July 22nd – Aug 3rd
www.Kennedy-Center.org

Les Miserables
June 11th – July 13th
www.Kennedy-Center.org

The (R)evolution of Steve Jobs
Washington National Opera
May 2nd – May 10th
www.Kennedy-Center.org

Porgy & Bess
May 23rd – May 31st
www.Kennedy-Center.org

Choke
GALA
through May 18th
www.GALATheatre.org

Jeghetto’s Workshop
The Puppet Company
through May 11th
www.ThePuppetCompany.org

Cat & Mouse
May 17th – May 26th
www.ThePuppetCompany.org

Charlotte’s Web
Adventure Theatre
through May 25th
www.AdventureTheatre-MTC.org

Disney’s Aladdin
Creative Cauldron
May 29th – June 15th
www.CreativeCauldron.org

Footloose via Next Stop Theatre

Footloose – The Musical
NextStop Theatre
May 8th – June 8th
www.NextStopTheatre.org

Sister Act
Ford’s Theatre
through May 17th
www.Fords.org

Joseph and the Amazing Technicolor Dreamcoat
Momentum Collective
May 8th, 9th and 10th
www.Momentumcinc.org

Blues for an Alabama Sky
Silver Spring Stage
through May 18th
www.SSStage.org

 Twelfth Night
Folger Theatre
May 13th – June 22nd
www.Folger.edu

Paradise Blue
Studio Theatre
May 1st – June 8th
www.StudioTheatre.org

Ethiopia
IN Series   
May 16th – June 1st
www.InSeries.org

Jesus Christ Superstar
Workhouse Arts Center
May 10th – June 15th
www.WorkhouseArts.org

You’re a Good Man, Charlie Brown
Arlington Players
June 6th – 8th and June 13th – June 15th
www.TheArlingtonPlayers.org

King James Via Roundhouse Theatre

King James
Round House Theatre
May 28th – June 22nd
www.RoundHouseTheatre.org

Some Like It Hot
The Hippodrome Theatre
May 6th – May 11th
www.TicketMaster.com

Chicago
The Hippodrome Theatre
June 3rd – June 8th  www.TicketMaster.com

A Lovely Day to Kill Your Spouse
Dominion Stage
June 13th – June 21st
www.DominionStage.org

Muffed
Prologue Theatre
through May 18th
www.PrologueTheatre.org

 Shooting Star
Providence Players of Fairfax
June 6th – June 24th
www.ProvidencePlayers.org

The Play That Goes Wrong
The Little Theatre of Alexandria
June 7th – June 28th
www.TheLittleTheatre.com