Company Brings Broadway Alums to the Kennedy Center with Sondheim’s Thrilling Musical

Company Brings Broadway Alums to the Kennedy Center with Sondheim’s Thrilling Musical

The John F. Kennedy Center for the Performing Arts
Jordan Wright
March 17, 2024
Special to The Zebra

The North American Tour of COMPANY (Photo/Matthew Murphy for MurphyMade)

For those familiar with Stephen Sondheim’s original 1970 version of Company, you’ll be mighty surprised to see all the changes in this production. The original won six Tony Awards. This revised version opened on Broadway in 2022, rewritten by Sondheim and Director Marianne Elliott, and won the Tony for Best Revival of a Musical. So, there’s that. Both versions stand on their own, but I’ll mention some of the changes, so you won’t feel lost at sea. Robert is now Bobbie and is female (the stunning Britney Coleman in full bloom and gorgeous voice). Adding to that switcheroo there’s is a gay male couple, social media is prevalent (everyone texts and checks their Facebook constantly) and pot is legal – well yes, it is – and there’s a very funny scene where Bobbie and friends get high on their front stoop.

It confused the heck out of me, but those I’ve spoken to who hadn’t seen the original and enjoyed the show for what it is now. So, let’s look at it that way, because it certainly stands on its own merits as a story of married couples, couples with children, the gay couple about to wed, and Bobbie turning 35 with an active dating life but no real prospects for marriage. And therein lies the crux of the matter. The pressure is on for her to marry.

David Socolar as Theo and Britney Coleman as Bobbie (Photo/Matthew Murphy for MurphyMade)

It’s the universal, get-married-before-it’s-too-late clock ticking madly away. Find a guy, have kids and get on with life, say all her friends. What the plot reveals is no matter how urgently friends try to convince Bobbie the years are passing her by, she sees their relationships, flaws and all, and that’s exactly what’s so hilarious about it.

Set in New York City with all its distractions, hookups, and dating apps Bobbie must navigate, it paints a picture of the struggles of a career woman to find love in a fast-paced world. I loved the rewrite – the gender swaps along with the new character development. It’s perfectly relevant. Surely Sondheim realized the old version couldn’t be revived without these changes to attract new audiences.

Matt Rodin as Jamie and Ali Louis Bourzgui as Paul (Photo/Matthew Murphy for MurphyMade)

It’s witty, quite sophisticated – Joanne (played by the sleekly sexy Judy McLane), as the Lauren Bacall type blonde, hasn’t changed a bit – and uproarious. With a crack cast of Broadway alums who sing their bums off, this is the musical everyone has been raving about.

The songs that never went away like “Someone is Waiting”, “You Could Drive a Person Crazy”, Side by Side by Side”, “The Ladies Who Lunch” (which reminded me of the terrific new mini-series about Truman Capote and his “Swans”) and, of course, the anthem “Being Alive”, are all here in their original glory. You’ll have your favorites, but these are mine and they’re unforgettable.

Highly recommended!

Britney Coleman as Bobbie (center) and the North American Tour of COMPANY (Photo/Matthew Murphy for MurphyMade)

With Judy McLane as Joanne; Kathryn Allison as Sarah; Jed Resnick as David; Jhardon DiShon Milton as Paul; Derrick Davis as Larry; Javier Ignacio as Peter; James Earl Jones II as Harry; Marina Kondo as Susan/Priest; Matt Rodin as Jamie; Emma Stratton as Jenny; Jacob Dickey as Andy; Tyler Hardwick as PJ; David Socolar as Theo.

Music and Lyrics by Stephen Sondheim; Book by George Furth; Scenic and Costume Design by Bunny Christie; Lighting Design by Neil Austin; Original Sound Design; Ian Dickinson for Autograph; Orchestration by David Cullen; Choreography by Liam Steel; with the Kennedy Center Opera House Orchestra and Company Orchestra.

Through March 31st at The John F. Kennedy Center for the Performing Arts, 2700 F Street, NW, Washington, DC 20566. For tickets and information call the box office at 202 467-4600 or visit

Offenbach Operetta Songbird Gets a New and Snappy 1920’s New Orleans Jazz Treatment with Superstar Isabel Leonard

Offenbach Operetta Songbird Gets a New and Snappy 1920’s New Orleans Jazz Treatment with Superstar Isabel Leonard

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

A scene from Songbird (Photo/Scott Suchman)

If you tell me Isabel Leonard is starring in a modern-day rendition of the well-loved, classical Offenbach operetta, “La Périchole” (1868), I would sell my soul to see it – especially since it’s set in the 1920’s Prohibition Era in New Orleans when “Hot Jazz” was king. Think Jelly Roll Morton, Louis Armstrong and the Dixieland Jazz bands of that force de la nature of American music. NOLA, as we now call it, became a musical polyglot of Afro-Caribbean, Marching Band beats, Spanish Tango influences, Ragtime syncopation, dusky Blues, Vaudevillian razzmatazz, improvisational Scat, and throbbing Latin rhythms bursting forth from a port city credited with the birth of American Jazz.

Conductor, Arranger and Orchestrator, James Lowe, was tasked with melding these divergent yet harmonious rhythms and dovetailing them into Songbird, an opera that uses Franglais in a nod to Offenbach’s French ancestry. Don’t worry there are projected surtitles when the actors switch to French. Instruments of the period, including a vintage drum set from the 1920’s, create the perfect sound Lowe uses to evoke the period when the Stomp, the Charleston and the Black Bottom were just coming of age.

Isabel Leonard (Songbird) and Ramin Karimloo (Piquillo) (Photo/Scott Suchman)

The sassy, spunky, risque comedic action takes place in a speakeasy called Café des Muses and stars a fabulous Vaudeville duo – the starving artists, Songbird (Isabel Leonard) and her amour Piquillo (Ramin Karimloo). The villain is the mayor of the New Orleans, the vainglorious Don Andrès (Edward Nelson) who falls madly in love with Songbird but wants her to be his mistress not his wife. Along with his cohorts, Don Pedro (Jonathan Patton) and Panatellas (tenor and funny as hell natural comedian Sahel Salam), he conspires to marry her off to Piquillo so that he can enjoy her in a carnal way with no strings attached.  With “tunes and booze and no taboos” this splashy production has it all including staggering drunk revelers.

One of the opening lines is delivered by Don Andrés who crows, “I could stand in the middle of Bourbon Street and the President would put me in his Cabinet!” And with that, the slapstick, pratfalls, tap dances and upside-downness begins to click. Add a soupçon of Gilbert and Sullivan panto and shades of the artsy bohemian life and we’re in Gay Paree. There is even a high-kicking Can Can at the bar!

Edward Nelson as Don Andrés (Photo/Scott Suchman)

Premiering at New York’s Glimmerglass festival in 2021, shelved during the pandemic and pared down to one act, the adaption is by Eric Sean FogelJames Lowe and Kelley Rourke who wrote the English lyrics and book.

Believe me when I tell you, the triple Grammy Award-winning mezzo soprano, Isabel Leonard will steal your heart. Her captivating mezzo-soprano range is perfectly suited to this snappy score and her acting chops prove that she can tailor her style to whatever is thrown her way. Furthermore, she plays the gamine as delightfully as Audrey Hepburn. And Karimloo, who is an award-winning Broadway musical star, will wow you with his song styling as well as his acting and comedic chops. Insider scoop: He has never studied voice, can’t read music (He asks for all his scores to be sent via the DAW GarageBand software.), and never in his life saw an opera before he was cast in this one. I love this so much!

Ramin Karimloo (Piquillo), Jonathan Patton (Don Pedro), and Sahel Salam (Panatellas) (Photo/Scott Suchman)

Deliciously naughty and wildly colorful with Mardi Gras costumes, zoot suits and spats, beaded flapper dresses and silky lingerie, this oh-so-clever interpretation will charm and delight. I know because the audience lost their collective minds – cheering at every song and roaring at every bit of farce. They were just as wild as the performers in their enthusiasm.

Highly recommended!!!!!

With Teresa Perrotta as Guadalena, Kresley Figueroa as Berginella, Cecelia McKinley as Mastrilla, Taylor-Alexis DuPont as Celeste, Jonathan Pierce Rhodes as A Priest, Justin Burgess as A Mobster/The Guide and Jo Ann Daugherty as Pianist.

Original Co-Director Francesca Zambello; Original Costume Designer Christelle Matou; Costume Designers Marsha LeBoeuf and Timm Burrow; Lighting Designer Robert Wierzel; Sound Designer Mark Rivet.

Remaining performances on March 17th, 20th and 23rd at the Kennedy Center, 2700 F Street, NW, Washington, DC 20566. For tickets and information call the box office at 202 467-4600 or visit

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

AT the Kennedy Center tick, tick…BOOM! Shines with Jonathan Larson’s Lush, Emotional and Extraordinary Music

Tick, tick…BOOM!

Broadway Center Stage at
The John F. Kennedy Center for the Performing Arts
Jordan Wright
February 2, 2023
Special to The Zebra

Brandon Uranowitz and the Cast of tick tick BOOM (Photo by Teresa Castracane)

Tic, tic, boom is the sound Jon (Brandon Uranowitz) hears in his head as he feels himself falling into obscurity as a musical composer. Looming large is his 30th birthday. With nothing to show for decades of laying his soul bare in words and rhymes, he ponders the wisdom, or idiocy, of taking a job in the corporate world like his former roommate and best friend, Michael (Grey Henson). Michael is flying high on success and shows Jon that having a luxury penthouse and flashy BMW can erase the pain of failure and a respite from their 6-floor walk-up.

At the same time Jon’s beloved, Susan (Denée Benton), is bent on leaving the city and getting a home in the country where their lives would be less stressful. This is not an option for Broadway hopeful Jon whose raison d’être is inextricably tied to the stage. His keyboard forms the nucleus of the limited props.

Denée Benton and Brandon Uranowitz (Photo by Teresa Castracane)

Playwright, composer and lyricist Jonathan Larson’s real life was a tragedy in itself. Drawing from his own bohemian life and inspired by Puccini’s La bohème, he wrote the wildly successful rock opera Rent. His own poverty and struggle for recognition were undoubtedly its inspiration. But we’re getting ahead of ourselves here since Larson died at 36 years-old on the night before its Broadway opening in 1996.

Fast forward to the 2021 film adaptation of tick, tick…BOOM! which you may have seen on Netflix and is definitely worth your time. It was directed by Lin-Manuel Miranda and roundly praised.

Brandon Uranowitz and the tick tick BOOM cast (Photo by Teresa Castracane)

Director Neil Patrick Harris comes to this stage production with some strong connections to its early-stage iterations when in 2005 he was cast as Jon in the London premiere. He’s performed in Rent and feels a personal connection to Larson’s work.

Bringing this semi-autographical musical tick, tick…BOOM! to a new audience has inspired Harris to re-invent its earlier productions. He has added a four-person ensemble to the three-hander. Why? More voices? More harmonies? It inserts a bit of Broadway pizazz (We’re a musical with song and dance!!!), but at what cost? It’s distracting. In this staging, actors are over-choreographed – shuffling chairs and other furnishings around the stage in a kind of chorus line does not sharpen the mood. Background video projections distract without providing connections to the script. The Georges Seurat painting used as the promo poster for Sunday in the Park with George popped up for a nanosecond, but it didn’t dovetail with any of Jon’s lines referencing his relationship with Sondheim.

Grey Henson and Brandon Uranowitz (Photo by Teresa Castracane)

An accurate reflection on Larson’s lean years, it drips with sarcasm and angst and is reminiscent of Sondheim’s “The Ladies Who Lunch”. It is the heartbeat of his life in New York City and reflects the nucleus of his despair. To be sure there are some very funny bits as in the tune “Sunday” which references Larson’s time waiting tables at the Moondance Diner trying to appease difficult diners during brunch service. As to diminishing its focus, you’re left to wonder if the decision to plump it up with extra actors wasn’t made by an ad hoc committee. If you go, love it for the music which is lush, emotional and extraordinary. Thirteen numbers flesh out the story backed by a four-piece band. It really doesn’t need more than that.

Through February 4th at The John F. Kennedy Center for the Performing Arts, 2700 F Street, NW, Washington, DC 20566. For tickets and information call the box office at 202 467-4600 or visit


Disney’s Frozen is a Shimmery, Wintery Ice Palace of Wonder at the Kennedy Center

Disney’s Frozen is a Shimmery, Wintery Ice Palace of Wonder at the Kennedy Center

Disney’s Frozen – The Hit Broadway Musical
The John F. Kennedy Center for the Performing Arts
Jordan Wright
December 26, 2023
Special to The Zebra

Caroline Bowman as Elsa (photo/Deenvan Meer)

What’s shimmery, glittery and icy all over? Frozen!!! The Disney spectacular indulges everyone’s wintery fantasy with visions of sugar plums dancing in their heads – most especially the adorable tiny princesses that filled the audience in their long tutus and tiaras dressed up like Elsa and waving shiny wands. Did they know the story, the music and all the lyrics? You bet they did, though their parents and grandparents kindly kept them from singing out loud.

Kristen Anderson-Lopez and partner Robert Lopez who together crafted the music and lyrics from Jennifer Lee’s book, keeps the audience in thrall as what was originally the Disney movie by the same name, comes alive in front of eager eyes. From the stage they’re asked if this is their first Broadway show and quite a few gleefully raised their hands. What a scintillating introduction to musicals and, I mused, what a tale they’ll tell their children!

Lauren Nicole Chapman as Anna and Company of Frozen North American Tour (Photo/Matthew Murphy for Disney)

The story of the two sisters, Elsa (Caroline Bowman) and Anna (Lauren Nicole Chapman), brought up in a magnificent kingdom by their caring parents, the King Agnarr (Kyle Lamar Mitchell) and Queen Uduna (Katie Mariko Murray) of Arendelle, is beloved around the world not only for the beautiful story but also the lessons it teaches children – to be kind, to love, to be cautious, but also, when to believe. Along with the charming, life-size Sven the Reindeer (Collin Baja or Daniel Plehal) and Olaf (Jeremy Davis) the goofy, fearfully meltable snowman, Elsa learns to tame her secret magical powers and save her sister from a frozen fate.

But this is no average children’s play, nor a mere evening’s diversion. Backed in full by the Kennedy Center Opera House Orchestra in concert with the Frozen Touring Orchestrait is an epic show set in Scandinavia with all the gorgeous scenery reflecting the frigid fjords and alpine tundra. Video projections fill in what the massive sets cannot impart so that it is like being smack dab in Nordic splendor as opposed to sitting in your cozy velveteen seat.

Gowns and balls, maypoles and merriment define the sisters’ lives, until Elsa’s grand coronation when Anna is forced to live in isolation to protect her from Elsa’s dangerous powers.

Dominic Dorset as Kristoff and DanPlehal as Sven (Photo/Matthew Murphy for Disney)

The diverse cast moves effortlessly between ice crystals and shimmery fractals. Comic relief comes from Olaf (Jeremy Davis) and Sven (Collin Baja or Daniel Plehal) and the very silly number, “Hygge” sung beside a wayside chalet by the whole cast who dash in and out of a sauna beating themselves with birch branches to a song about comfort, friendship and conviviality. It is irresistible!

Snow blizzards and the haunting mountain people create just enough suspense to keep you on the edge of your seat. And did I mention Anna and Elsa’s love life? A Prince, Hans of the Southern Isles (Preston Perez), and a kindly mountain climbing guide, Kristoff (Dominic Dorset), are involved – one a straight shooter and one, well, not at all what he seems.

Highly recommended. Embrace the wonder-filled world of Frozen!

Caroline Bowman as Elsa and Lauren Nicole Chapman as Anna  (Photo/Matthew Murphy for Disney)

With Annie Piper Braverman or Emma Origenes as Young Anna; Erin Choi or Savannah Lumar as Young Elsa; Evan Duff as Weselton; Tyler Jimenez as Pabbie; Renée Reid as Bulda; Jeremy Davis as Oaken; and Gretel Scarlett as Head Handmaiden.

Additional cast members in the ensemble – Kate BaileyKristen Smith DavisLeigh-Ann EstyMichael EverettJason GoldstonNatalie GoodinZach HessAdrianna Rose LyonsAlexander MendozaNick SilverioDaniel Switzer and Peli Naomi Woods.

Under the direction of Michael Grandage with Orchestrations by Dave Metzger; Sound Design by Peter Hylenski; Puppet Design by Michael Curry; Scenic and Costume Design by Christopher Oram; Lighting Design by Natasha Katz; Choreography by Rob Ashford.

Through January 21st at The John F. Kennedy Center for the Performing Arts, 2700 F Street, NW, Washington, DC 20566. For tickets and information call the box office at 202 467-4600 or visit

Kennedy Center’s Girl from the North Country is Moving and Unforgettable

Kennedy Center’s Girl from the North Country is Moving and Unforgettable

The Girl from the North Country
The John F. Kennedy Center for the Performing Arts
Jordan Wright
December 19, 2023
Special to The Zebra

Chiara Trentalange (center) and the cast of the GIRL FROM THE NORTH COUNTRY North American tour (Photo/Evan Zimmerman for MurphyMade)

The thing that Writer/Director Conor McPherson understands is the intrinsic value of Bob Dylan’s words. The Words! The Words! And how Dylan’s lyrics reflect the pain of growing up in small town Minnesota – the frustration of an artist who saw and struggled and loved and experienced the inequality of poverty in America. Surprised as McPherson was when given the go-ahead from Bob Dylan to use his songs in a Broadway musical, his gift for Irish storytelling made him the ideal candidate to interpret the music as poetic script.

This musical had such an impact on me that I’ve been processing it for a week before penning my review. Mainly because the subject matter and the songs are weighty and complicated and the beautifully drawn characters leap right out at you. You know these people, or you know of them. There is an empathic intimacy within this story and in the telling too.

L-R Ben Biggers, Sharaé Moultrie, Jennifer Blood and John Schiappa (Photo/Evan Zimmerman for MurphyMade)

It is set in Duluth, Minnesota. The year is 1934 as the Great Depression settles heavily upon the nation and those with little to show for their lives of hard work and sacrifice are suffering mightily. The Laine family runs a boardinghouse filled with curious characters down on their luck or running from the law or in love affairs gone sour. Nick and Elizabeth try to keep things in order along with their adopted daughter Marianne and their unemployed son, Gene. But Elizabeth’s mental health is failing, and the place is losing money. Hardships and love affairs threaten to topple the tenuous equilibrium.

Pretenders and desperados live amongst them. A fake holy roller priest, a prison escapee, and a doddering shoe store owner who proposes to young Marianne when the father of her yet to be born child leaves town. References are made to the true story in Duluth when a crowd broke into the jail and hung three Black men. It was hard times.

Sharaé Moultrie (Photo/Evan Zimmerman for MurphyMade)

Dylan’s songs are not as he recorded them. Yes, lyric-wise, but not with the same tempo. McPherson gets more heft from slowing them down, changing up some of the notes and phrasing for emphasis and re-imagining their place in the story. You will feel this deeply and appreciate the songs even more when their meaning is placed in the hands, and voices, of this wonderful 17-person cast. When Elizabeth sings Like a Rolling Stone you can feel the undercurrent of trauma, death and mental illness. It is both insistent and poignant.

Dylan’s words were reflective of society’s drift, the ebb and flow of human involvement, of broken women, beautiful women, men on the fringes of society, his own fallibility and the country’s fragility. This is a thinking person’s production with a world of space within its songs to process its meaning.

Highly recommended. Moving and unforgettable.

Chiara Trentalange and Ben Biggers (Photo/Evan Zimmerman for MurphyMade)

With Alan Ariano as Dr. Walker; David Benoit as Mr. Burke; Ben Biggers as Gene Laine; Jennifer Blood as Elizabeth Laine; Matt Manuel as Joe Scott; Sharaé Moultrie as Marianne Laine; Jay Russell as Mr. Perry; John Schiappa as Nick Laine; Chiara Trentalange as Kate Draper; Jill Van Velzer as Mrs. Burke; Jeremy Webb as Reverend Marlowe; Aidan Wharton as Elias Burke; Carla Woods as Mrs. Nielsen;

Soloists/ensemble – Ashley D. BrooksJustin Michael DuvalKelly McCormick and Hosea Mundi.

Music and Lyrics by Bob Dylan; Music Direction by Wiley DeWeese; Sound Design by Simon Baker; Lighting Design by Mark Henderson; Scenic Design by Rae Smith; Orchestrator, Arranger and Music Supervisor, Simon Hale.

Through December 31st at The Kennedy Center, 2700 F Street, NW, Washington, DC 20566. For tickets and information call the box office at 202 467-4600 or visit