|
|
Iconic Alvin Ailey Dance Theater Moves to the Warner Theatre Celebrating with Their Classic “Revelations” and the Premiere of a New Dance Piece Set to Avishai Cohen’s Jazz Trumpet
Warner Theatre
Jordan Wright
February 1, 2026
 Photo courtesy of Alvin Alley American Dance Theater.
A series of short dance vignettes set to inspirational music captures the essence of this renowned troupe of contemporary dancers. They are divided into sections entitled “Embrace”, “Difference Between”, “Song of the Anchorite” (a world premiere) and lastly “Revelations”. In the first series a male soloist takes the stage alternating between power moves and tenderness set to Stevie Wonder’s tender ballad, “Never Dreamed You’d Leave in Summer”. Balletomanes and, more specifically, Ailey fans are hyper-energized and, no matter where you are sitting in this opulent Neo-Renaissance theater, you can sense their shared excitement building.
Etta James haunting song, “At Last” follows. Performed by four males along with four female partners and a mesmerizing female dancer in a silky bright yellow dress who takes center stage on a raised wooden platform. These platforms will be used in a myriad of ways throughout the vignettes as the dancers configure them to reflect each unique piece.
Pink’s track “What About Us” becomes the background music for a piece about feeling unheard and personal isolation. It is a large ensemble piece that starts off with two males challenging each other to fight, seeming to search for the boundaries of their manhood, while the others endeavor to support them.
In the next piece, Ed Sheeran’s “Photograph” becomes the backdrop music for a haunting dance of desire and remembrance that put me in mind of the upcoming Winter Olympics and the ice dancing teams who perform similarly elegant and daring lifts.
Des’ree’s “I’m Kissing You” is a romantic ensemble piece featuring two lovers in a pas de deux that captures the essence of passionate unrequited love.
 Artistic Director Alicia Graf Mack with members of the Company. (Photo/Andrew Eccles)
With Blackberry Smoke’s “One Horse Town” the theme echoes the familiar dilemma of young people aspiring to become more than their heritage and small town affords them. The final introductory piece is a powerful evocative solo by a principal dancer performed against a backdrop of Avishai Cohen’s sultry Jazz trumpet to bring down the house.
In all these pieces the troupe’s free-flowing, elegant, deeply expressive movements captivate. Signature positions such as wide-spread legs in deep pliés, hands flung backwards Egyptian style, coupled with their sensuous, serpentine bodies and awe-inspiring athleticism, all define the company’s ethos.
After the second and final intermission (I’m envisioning the dancers plunging into in ice baths), the ensemble’s iconic masterpiece “Revelations” is performed. Audiences know and love this dance which premiered in 1960 and reflects the life and times of Ailey himself. Its themes of African American heritage and culture resonate through the familiar struggles and challenges of the period.
Set to gospel choir music, familiar spirituals and Southern blues, this extraordinary and identifiable piece explodes with high-powered praise dancing and ground-breaking interpretive movement. A curated trove of traditional songs serves to emphasize the mood from historic struggles to hopefulness. A sassy, Caribbean-influenced opening beat leads to its crescendo in the beautiful strains of “Wade in the Water”, “I Want to be Ready”, “Sinner Man”, and “Rocka My Soul in the Bosom of Abraham”.
Moving and exhilarating in beauty, excellence and spirit. Highly recommended!
Through February 8th at the Warner Theatre, 513 13th Street, NW, Washington, DC 20004. For tickets and information visit www.WarnerTheatreDC.com and www.TicketMaster.com
Synetic Theater’s Sensational Creativity, Outstanding Acting and Stunning Production Put Shakespeare’s Antony & Cleopatra at the Top of My List
Antony & Cleopatra
Synetic Theatre
Jordan Wright
January 12, 2026
 Irina Kavsadze (Cleopatra) and Vato Tsikurishvili (Anthony) in Anthony & Cleopatra at Synetic Theatre. (Photo/Katerina Kato)
For those of you who have never experienced a Synetic Theatre production, I mourn. I call it an ‘experience’ because, how else to describe their unique performance style and silent Shakespeare productions. A mantles’ worth of Helen Hayes Awards proves their massive success with their originality, extraordinary athleticism and jaw-dropping creativity putting them above all others in their fierce approach to mold-smashing, innovative theatre.
A visionary troupe with roots in the Republic of Georgia, performers are extensively trained in stage combat, acrobatics, acting, modern and classical dance, and mime for months at a time before premiering each production. In this staging of Antony & Cleopatra, first performed at the Lansburgh Theatre (now the Klein) over a decade ago, many of the original troupe members appear. However, one performer, Irina Kavsadze, a cousin of co-founder, Paata Tsikurisvili, has come all the way from Georgia to take the lead role of Cleopatra. Irina is so outstanding, so mesmerizing, so extraordinary, that her performance warrants singular attention, yet doesn’t subtract from the rest of this crack ensemble to include the pantomime legend, Vato Tsikurishvili in the role of Antony, and Stella Bunch as the very intriguing, sinuous eunuch, Mardian, a sphinx-like trickster who serves as Cleopatra’s confidant.
The story follows what you may recall from the 1963 film starring Elizabeth Taylor and Richard Burton – or one of the many other Shakespeare productions of this classic. But I promise you won’t have seen anything as thrilling, as contemporary, or as brilliantly interpretive a production… unless, of course, you saw the original performed at the Lansburgh in 2006. I did.
Scenic Designer Anastasia Ryurikov Simes’ massive golden pyramid with steps leading up to the throne’s pinnacle sets the stage for the story to unfold when the divine seductress Cleopatra faces off against her scheming brother Ptolemy (Natan Maël Gray). In this civil war the siblings battle each other for their right to Egypt’s throne while engaging with the opposing warriors. Swords clash and actual sparks fly, lighting up the stage, as metal meets metal and Ptolemy’s gains the throne.
 Tony Amante (Ensembler), Joshua Cole Lucas (Ensembler), Liam Klopfenstein (Ensembler), Vato Tsikurishvili (Antony), Natan Maël-Gray (Ensemble), Ernest Fleischer (Ensemble), and Rodin Alcerro (Ensemble). (Photo/Katerina Kato)
At last Caesar and his formidable army comes to her aid and she reclaims the throne. Later the dashing Marc Antony kills Ptolemy and Rome’s power reshapes Egypt with the SPQR emblem surrounded by laurel wreath proudly featured. The troupe’s stage fighting skills are very much on display as the throne repeatedly changes hands. Soldiers, guards and cronies clad in shiny metal-studded breastplates, leather strapping and flowing red satin capes have at it in a display of wild pugilistic drama and gasp-worthy acrobatics of which there is plenty to see here.
As power changes hands, large regional maps are conjoined and reconfigured to reflect the changing rulers as Marc Antony returns to wrest the throne. Of course, that’s not the end of it. “Uneasy lies the head that wears the crown,” from Shakespeare’s King Henry IV came to mind. It’s very challenging to hang on to an entire country for long, as you may have noticed lately. Octavion (Philip Fletcher) soon returns with his own nefarious plot to steal the throne. Look for poison and passion (Remember the killer asp?) and definitely read the synopsis to figure out who’s who as the throne is taken, retaken and stolen and characters die in the process. And you’ll never guess who ends up as ruler. I told you it was exciting.
Inserting the sensual belly dancing harem is quite clever, leaving the fighting to subside when there’s a celebratory bacchanal at hand and a comical sex scene between Cleo and Antony with heads, arms and legs akimbo jutting out behind a short wall. But wait! Jealousy rears its ugly head and the fighting resumes. I won’t reveal anything more or this review would take an encyclopedia of scenic descriptions. You’re on your own now. Enjoy it to the fullest.
 Stella Bunch (Mardian) and Irina Kavsadze (Cleopatra). (Photo/Katerina Kato)
Highly recommended! A must see!
With Zana Gankhuyag as Enobarbus; Tony Amante as Caesar; Nantan-Maēl Gray as Ptolomy; Maryam Najafzada as Octavia; Rodin Alcerro as Pompey; Ernest Fleischer as Brutus; Joshua Cole Lucas as Cassius; Liam Klopfenstein as Messenger; and Magdelen Rose Cammaroto, Kaitlyn Shifflett and Morgan Taylor in the Ensemble.
The always brilliant choreography by Synetic Co-founder, Irina Tsikurishvili; outstanding Costume Design by Erik Teague with Assistant Costume Designer Anya Peregrino; Original Scenic Design by Anastasia Ryurikov Simes; Original Fight Choreography by Ben Cunis; Remount Fight Choreography by Vato Tsikurishvili; Resident Dramaturg/Adaptor Nathan Weinberger; Resident Composer/Sound Design Koki Lortkipanidze who sets the mood with Irakli Kavsadze using electronica, sound FX and classical music; superb Lighting Design by Colin K. Bills.
Through January 25th at Shakespeare Theatre Company’s Klein Theatre, 450 7th Street, NW, Washington, DC 20004. For tickets and information call the box office at 202.547.1122 or visit www.SyneticTheater.org.
What’s Onstage in the DMV February/Early March 2026
Jordan Wright
January 10, 2026
 The First National Tour Cast of Stereophonic. (Photo/Julieta Cervantes)
Broadway at The National www.BroadwayattheNational.com
Stereophonic Feb 10 – Mar 8
The Simon and Garfunkel Story Mar 14 and Mar 15 only
Disney’s Beauty and the Beast Mar 18 – Apr 5
Signature Theatre www.SigTheatre.org
I’m Here: Black Broadway Feb 24 – Mar 15
Safety Not Guaranteed Mar 3 – Apr 12
MetroStage at the Lyceum www.MetroStage.org
Roots & Reverence: The Spirituals That Shaped America Feb 23 only
Workhouse Arts Center www.WorkhouseArts.org/theater-performances
Murder on the Orient Express Mar 6 – April 12
Folger Theatre www.Folger.edu
As You Like It Mar 10 – Apr 12
 Hamnet via Shakespeare Theatre Company
Shakespeare Theatre Company www.ShakespeareTheatre.org
On Beckett Feb 11 – Mar 15
Hamnet Mar 17 – Apr 12
Avant Bard www.AvantBard.org
Two Gentlemen of Killarney Mar 5 – 28
Theatre J www.EDCJCC.org
The World to Come Feb 3 – Mar 1
Eureka Day Mar 11 – April 5
Atlas Performing Arts Center www.AtlasArts.org
INTERSECTIONS Festival Feb 14 – Mar 15
NextStop Theatre Company www.NextStopTheatre.org
Drowner [Renword] through Feb 22
 Little Miss Perfect via Olney Theatre
Olney Theatre www.OlneyTheatre.org
Little Miss Perfect Feb 8 – Mar 8
Appropriate Mar 13 – Apr 19
Studio Theatre www.StudioTheatre.org
Octet through Feb 22
GALA Theatre www.GALATheatre.org
La Casa de Bernarda Alba – The House of Bernarda Alba Feb 5 – Mar 1
Imagination Stage www.ImaginationStage.org
Balloonacy through Feb 15
Havana Hop Feb 14 – Mar 7
Adventure Theatre MTC www.My.AdventureTheatre-MTC.org
Freckleface Strawberry Pajama Party: The Musical Feb 12 – Mar 29
 1776 via Ford’s Theatre (Artwork created from photos by Scott Suchman)
Ford’s Theatre www.MyFords.org
1776 Mar 13 – May 16
Arena Stage www.ArenaStage.org
Chez Joey through Mar 15
Inherit the Wind Feb 27 – April 5
1st Stage www.1stStage.org
Between Riverside and Crazy Feb 19 – Mar 8
Washington Stage Guild www.StageGuild.org
Happy Days through Feb 26
Woolly Mammoth Theatre Company www.WoollyMammoth.net
The World to Come through Mar 1
 Rock of Ages via Toby’s Dinner Theatre
Toby’s Dinner Theatre www.TobysDinnerTheatre.com
Rock of Ages through Mar 15
Round House Theatre www.RoundHouseTheatre.org
Nothing Up My Sleeve Feb 11 – Mar 15
Dominion Stage www.DominionStage.org
Xanadu through Feb 14
Creative Cauldron www.CreativeCauldron.org
Snapshots: A Musical Scrapbook Feb 12 – Mar 8
Twelve Dancing Princesses Mar 13 – 29
Compass Rose Theatre www.CompassRoseTheater.org
Rent Feb 6 – Mar 8
 Back to the Future via Baltimore Broadway
Hippodrome Baltimore www.Baltimore.Broadway.com
Back to the Future Feb 14 – Mar 1
Hadestown Mar 13 and 14
Everyman Theatre www.EverymanTheatre.org
Dawn through Mar 1
Damascus Theatre Company www.DamascusTheatre.org
Company Feb 6 – 22
Little Theatre of Alexandria www.TheLittleTheatre.com
School of Rock Feb 7 – 28
Perisphere Theater www.PerisphereTheater.com
Silent Sky through Feb 14
Keegan Theatre www.KeeganTheatre.com
John Doe through Feb 22
Midiculous Feb 24 – Mar 8
 Tambo & Bones via Spooky Action Theatre
Spooky Action Theatre www.SpookyAction.org
Tambo & Bones Feb 12 – Mar 8
The Welders www.TheConservatory.com
Cake Eaters Feb 5 – Feb 22
Arlington Players www.ArlingtonPlayers.org
Peter and the Starcatcher through Feb 15
Providence Players of Fairfax www.ProvidencePlayers.org
Crimes of the Heart Mar 13 – 22
Maryland Ensemble Theatre www.MarylandEnsemble.org
Small Mouth Sounds Feb 13 – Mar 15
What’s Onstage in the DMV January/February 2026
Jordan Wright
December 18, 2025
 The Company of the Second North American tour of Clue. (Photo/Evan Zimmerman for MurphyMade)
Broadway at The National www.BroadwayattheNational.com
Dr. Seuss’ How The Grinch Stole Christmas! The Musical Dec 30 -Jan 4
Stomp Jan 16 -18
DreamWorks Gabby’s Dollhouse Live! Jan 21 & 22
Clue Jan 27 – Feb 1
Stereophonic Feb 10 – Mar 8
Synetic Theater www.SyneticTheater.org
Antony & Cleopatra Jan 9 – 25 production will be at STC’s Klein Theatre
GALA Theatre www.GALATheatre.org
La Casa de Bernarda Alba – The House of Bernarda Alba Feb 5 – Mar 1
Olney Theatre www.OlneyTheatre.org
Little Miss Perfect Feb 8 – Mar 8
 The cast of Guys and Dolls at Shakespeare Theatre Company. (Photo/Teresa Castracane Photography)
Shakespeare Theatre Company www.ShakespeareTheatre.org
Guys and Dolls through Jan 8
Paranormal Activity Jan 28 – Feb 7
On Beckett Feb 11 – Mar 15
NextStop Theatre Company www.NextStopTheatre.org
Drowner [Renword] Jan 29 – Feb 22
Studio Theatre www.StudioTheatre.org
Octet Jan 14 – Feb 22
New Pages, New Stages – A Festival of Play Readings from Arena Stage, Theater Alliance, Theater J and Solas Nua Jan 23 – 25
Theatre J www.EDCJCC.org
Stories from the Brink Jan 24 & 25
Imagination Stage www.ImaginationStage.org
Balloonacy Jan 10 – Feb 15
 Alex Finke (Marie Berthe Cazin) in In Clay at Signature Theatre (Photo/DJ Corey)
Signature Theatre www.SigTheatre.org
Fiddler on the Roof through Jan 25
In Clay through Feb 1
This Ends in Blood Jan 19 and 20 only
Atlas Performing Arts Center www.AtlasArts.org
INTERSECTIONS Festival Feb 14 – Mar 15
Spooky Action Theatre www.SpookyAction.org
Tambo & Bones Feb 12 – Mar 8
Constellation Theatre www.ConstellationTheatre.org
Dracula: A Comedy of Terrors Jan 23 – Feb 15
Laurel Mill Playhouse www.LaurelMillPlayhouse.org
Save My Black Soul Jan 6 – Feb 1
 Chez Joey via Arena Stage
Arena Stage www.ArenaStage.org
Chez Joey Jan 30 – Mar 15
1st Stage www.1stStage.org
Between Riverside and Crazy opens Feb 19 – Mar 8
Washington Stage Guild www.StageGuild.org
Happy Days Jan 29 – Feb 26
Workhouse Arts Center www.WorkhouseArts.org
Into the Woods through Jan 25
Hippodrome Baltimore www.Baltimore.Broadway.com
The Great Gatsby Jan 31 – Feb 7
Woolly Mammoth Theatre Company www.WoollyMammoth.net
The World to Come Feb 3 – Mar 1
 Rock of Ages via Toby’s Dinner Theatre
Toby’s Dinner Theatre www.TobysDinnerTheatre.com
Rock of Ages Jan 9 – Mar 15
Round House Theatre www.RoundHouseTheatre.org
Nothing Up My Sleeve Feb 11 – Mar 15
Dominion Stage www.DominionStage.org
Xanadu Jan 30 – Feb 14
Creative Cauldron www.CreativeCauldron.org
Passport to the World of Music Festival Jan 10 – Feb 1
Compass Rose Theatre www.CompassRoseTheater.org
Rent Feb 6 – Mar 8
 Dawn via Everyman Theatre
Everyman Theatre www.EverymanTheatre.org
Dawn Feb 1 – Mar 1
Little Theatre of Alexandria www.TheLittleTheatre.com
School of Rock Feb 7 – 28
Aldersgate Theatre www.ACCTonline.org
Beetlejuice JR Jan 16 – 25
Perisphere Theater www.PerisphereTheater.com
Silent Sky Jan 30 – Feb 14
 Peter and the Starcatcher via Arlington Players
Arlington Players www.ArlingtonPlayers.org
Peter and the Starcatcher Jan 31 – Feb 15
Keegan Theatre www.KeeganTheatre.com
John Doe Jan 31 – Feb 22
Midiculous Feb 24 – Mar 8
Voices Festival Productions www.VoicesFestivalProductions.com
Rami and Bassam Jan 8 – 11
Vienna Theatre Company www.ViennaTheatreCompany.org
The Sunshine Boys Jan 23 – Feb 8
Guys and Dolls Throws the Dice and Comes Up Big at the Shakespeare Theatre Company
Guys and Dolls
Shakespeare Theatre Company
Jordan Wright
December 15, 2025
 The cast of Guys and Dollsat Shakespeare Theatre Company. (Photo/Teresa Castracane Photography)
This beloved, oft performed, hilarious musical is from Broadway royalty, Frank Loesser, who composed and wrote the lyrics 75 years ago. The original production premiered on Broadway in 1950 winning the Tony for “Best Musical”. Inspired by the stories of Prohibition era author; hard news and sports reporter; and erstwhile backroom sociologist, Damon Runyon, who spun colorful tales of the grittier side of Broadway, Loesser takes Runyon’s world to craft a remarkable musical of the place and times when mobsters, gamblers, handicappers and hustlers in zoot suits ruled the mean streets and hoochie-coochie joints and where the Salvation Army worked to convert them at the Save-A-Soul Mission on Times Square.
Loesser’s memorable characters are the spark to two hilarious love stories – that between high-roller Sky Masterson and Salvation Army missionary Sarah Brown; and gambler Nathan Detroit and ditzy-clever chorus girl, Miss Adelaide. Don’t look for 21st century women’s rights advances nor politically correct relationships here. This is an updated throwback to the way things were in the male-dominated 1950’s.
 Jacob Dickey (Sky Masterson) and Julie Benko (Sister Sarah Brown). (Photo/Teresa Castracane Photography)
Led by Nathan Detroit we soon meet the goofball gamblers – Nicely-Nicely Johnson, Benny Southstreet and Rusty Charlie – between them they run the “oldest established, permanently floating, crap game in New York” as they call it, and where Runyon’s vivid street slang defines the characters’ story. Challenged to find a new venue to hold the dice game, Detroit hears that Sky Masterson is in town and wants in. But the Biltmore Garage wants a thousand clams to host it, and Nathan doesn’t have the dough. He bets Sky the thou if he can correctly guess how many pastries Mindy’s restaurant has sold. Naturally, Nathan has the inside scoop. When that bet doesn’t play out, he bets him he can’t get a date to a casino in Havana, Cuba with the straitlaced Sarah. And now, all bets are on and Sky, the cunning Casanova must woo Sister Sarah. When the crap game finally commences, Big Julie has convinced Harry the Horse, a tough guy from Chicago, to join in. Big Julie is packing a pistol and keeps the game going until he can win his ‘clams’ back.
As expected, high jinks and hilarity ensue played out among the crafty characters while the adorable Miss Adelaide and her spangly ‘Hot Box Girls’ perform on a tracer-lit stage that rises up to showcase the chorines flouncing and flirty for the racy number “A Bushel and a Peck” followed by Miss Adelaide’s memorable number, “Adelaide’s Lament”, more familiarly remembered as “a person can develop a cold”.
 Graciela Rey (Ensemble), Aria Christina Evans (Ensemble), Hayley Podschun (Miss Adelaide), Jessie Peltier, and Jimena Flores Sanchez (Mimi/Martha/Ensemble). (Photo/Teresa Castracane Photography)
There are so many crazy side stories and hilarious street slang, girls are “tomatoes” and guys are “mugs” and “no-goodniks”, plus the most iconic songs in this wonderful musical, that you will come to love these colorful characters. Sky’s song, “Luck Be a Lady Tonight” showcases Jacob Dickey’s phenomenal voice along with Joshua Bergasse’s brilliant choreography. Another standout is Kyle Taylor Parker’s fantastic rendition of “Sit Down You’re Rockin’ the Boat” which drove the audience wild with hoots and applause. Backed by a 12-piece orchestra, twenty numbers fill out this wonderfully wacky musical hit.
Set Designer Walt Spangler cleverly presents the scene in a Salvation Army thrift store chock-a-block with racks of used clothing, kitchenware and kitschy collectibles where the storefront windows allow for a continuous view of the orchestra – especially the conductor, dressed in Salvation Army military uniform. Snappy and snazzy 1930’s period costumes by Constance Hoffman set the tone for where in this story, the guys get the dolls and everyone lives happily ever after as the ladies sing “Marry the Man Today”, a paean to changing the guy after the ring is firmly in place. Old school.
In her directorial debut at STC, Francesca Zambello, current artistic director at the Kennedy Center for the Washington National Opera, has called in all her markers to showcase some of the best vocalists and performers in musical theatre.
The cast of Guys and Dolls. (Photo/Teresa Castracane Photography)
With Julie Benko as Sister Sarah Brown; Rob Collett as Nathan Detroit; Jacob Dickey as Sky Masterson; Hayley Podschun as Miss Adelaide; Kyle Taylor Parker as Nicely-Nicely Johnson; Calvin McCullough as Benny Southstreet/Ensemble; Ahmad Kamal as Big Julie/Ensemble; Tommy Gedrich as Rusty Charlie/Ensemble; Lawrence Redmond as Arvide Abernathy/Ensemble; Lamont Brown as Joey Biltmore/Ensemble; Garrett Marks as Harry the Horse/Ensemble; Holly Twyford as General Matilda B. Cartwright/Ensemble; Katherine Riddle as Agatha/Ensemble; Jimena Flores Sanchez as Mimi/Martha/Ensemble; John Sygar as Calvin/Ensemble, Todd Scofield as Lt. Branigan/Ensemble.
Additional Ensemble: Nick Alvino, Brendan Chan, Aria Christina Evans, David Paul Kidder, Chivas Merchant-Buckman, Jessie Peltier, Graciela Rey.
Book by Jo Swerling and Abe Burrows; Music Director and Conductor, James Lowe; Lighting Design by Amith A. Chandrashaker; Sound Design by Andrew Harper; Dramaturg, Drew Lichtenberg; Wig & Hair Design by Kevin S. Foster; Fight Choreography by Robb Hunter; Voice & Dialect Coach, Lisa Beley; Intimacy Coordinator, Bess Kaye.
Lady Luck shines on this superb production! Highly recommended!!!
Now playing through January 8th, 2026 at Harman Hall, 610 F Street, NW, Washington, DC 20004. For tickets and information call the box office at 202.547.1122 or visit www.ShakespeareTheatre.org.
In Series World Premiere Opera “The Delta King’s Blues” Shines a Blazing Light on the Life of Robert Johnson, Father of American Blues
The Delta King’s Blues
IN Series
Jordan Wright
December 13, 2025
 Albert R. Lee (Robert), Marvin Wayne (Willy), Anthony Ballard (Son), and Christian Simmons (Devil) in The Delta King Blues. (Photo/Bayou Elom)
Robert Johnson, the acknowledged American “Father of the Blues”, came to a crossroads in his life. Growing up in the Mississippi Delta, he was a shy child with a burning desire to pick up a steel-string acoustic guitar. As the legend goes, he lacked the skills necessary to make a career out of his passion. One night the Devil appeared offering to teach him how to write, sing and play the blues like no other man before him. But there was a Faustian catch. You already guessed it. Johnson had to sell his soul to the slick trickster. In his desperation, he makes the bargain and the legend was born. “Now you’re cookin’ with fire,” the Devil tells him.
Noted composer Damien Geter’s and much-commissioned librettist Jarrod Lee’s fascinating world premiere opera recently premiered at IN Series new theater space here in DC before it heads off to Baltimore for three additional engagements. Introduced with a short but powerful set by Tennessee Blues guitar singer and performer, “Memphis Gold”, who has played with such legends as Sister Rosetta Tharpe, James Brown, Mavis Staple, Taj Mahal, John Hammond and dozens more, the veteran Blues man set the mood with songs of the period including Johnson’s signature number, “Crossroad”.
 Albert R. Lee (Robert), Melissa Wimbish (Virginia), Marvin Wayne (Willy), and Anthony Ballard (Son). (Photo/Bayou Elom)
Set in the 1930’s this modern opera combines history, fantasy and musicality in a most appealing way – exposing audiences to a man who defined the Blues and provided with a backstory – whether fact or fiction – at the same time introducing newcomers to the roots of American musical culture. Three years to come to fruition, this opera has a very bright future.
A ten-piece orchestra led by multi-genre conductor, Darren Lin & Timothy Nelson, accompany the cast featuring Albert Lee as Robert, Christian Simmons as Devil, Melissa Wimbish as Virginia (Robert’s love interest), Marvin Wayne as Willy and Anthony Ballard as Son. Costumes by Rakell Foye; Set Design by Joshua Sticklin; Lighting Design by Paul Callahan; Commissioned by IN Series.
Through December 14th at Pop-Up Theater, 340 Maple Drive, SW, Washington, DC 20024. In Baltimore, MD December 19-21 at 2460 SPACE at 2460 St. Paul Street. For tickets call the box office at 410.752.8558 or visit www.ci.ovationtix.com
|
