What’s Onstage in the DMV – July 2025

What’s Onstage in the DMV – July 2025

Jordan Wright

 Special to The Zebra

Harry Potter and the Cursed Child North American Tour (Photo/Matthew Murphy)

 

The National Theatre – Harry Potter and the Cursed Child – July 8th – Sept 6th – www.TheNationalDC.org

 

Arena Stage – A Wrinkle in Time – through July 20th – www.ArenaStage.org

 

Faction of Fools – How the Sausage Gets Made – Jul 17th – Aug 9th – www.FactionofFools.org

 

Contemporary American Theater Festival – Shepherdstown, WV – July 11th – August 3rd [email protected]

 

Summer Passport Music Festival via Creative Cauldron

 

Creative Cauldron – Summer Passport Music Festival – June 20th – Sept 14th –

www.CreativeCauldron.org

 

Olney Theatre – Kim’s Convenience – June 25th – July 27th

A Midsummer Night’s Dream (a Synetic Theater production) – July 17th – Aug 10th – www.Tickets.olneytheatre.org

 

Theatre J – The Rise of the Superhero – July 21st – Aug 25th www.EDCJCC.org

 

The cast of The Untitled Unauthorized Hunter S. Thompson Musical at Signature Theatre (Photo/Christopher Mueller)

 

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

You’ve Got a Friend – Women Pop Rock: Women Songwriters – July 2nd – July 13th

Broadway in the Park at Wolf Trap – June 28th one night only

www.SigTheatre.org

 

Keegan Theatre – Apropos of Nothing, A Comedy – Jul 12th – Aug 3rd – www.KeeganTheatre.com

 

Cast of Dungeons & Dragons The Twenty-Sided Tavern US Tour

 

The Kennedy Center – Les Miserables – through July 13th

Sesame Street the Musical – July 10th – Aug 31st

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

www.Kennnedy-Center.org

 

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

 

Wipeout via Studio Theatre

 

Studio Theatre – Wipeout – through July 27th – www.StudioTheatre.org

 

Shakespeare Theatre Company – Duel Reality – July 1st – July 20th – www.ShakespeareTheatre.org

 

Imagination Stage – Dory Phantasmagory – through Aug 3rd – www.ImaginationStage.org

 

Bye Bye Birdie via Port Tobacco Players

 

Adventure Theatre – The Lightning Thief – through Aug 17th – www.AdventureTheatre-MTC.org

 

Port Tobacco Players – Bye Bye Birdie – July 11 – Aug 3rd – www.PTPlayers.com

 

The Little Theatre of Alexandria – Kinky Boots – July 26th – Aug 16th – www.TheLittleTheatre.com

 

Woolly Mammoth – Dead Inside – July 9th – July 27th – www.WoollyMammoth.net

A Brilliant Cast Dazzles in Gershwin’s American Classic Porgy and Bess at the Kennedy Center

A Brilliant Cast Dazzles in Gershwin’s American Classic Porgy and Bess at the Kennedy Center

Porgy and Bess

Washington National Opera

John F. Kennedy Center for the Performing Arts

Jordan Wright

May 24, 2025

Michael Sumuel (Porgy) and Brittany Renee (Bess) in Washington National Opera‘s Porgy and Bess at the Kennedy Center (Photo/Cory Weaver)

As one of the most celebrated American operas, Porgy and Bess maintains its broad appeal. With music by George Gershwin and libretto by his brother Ira Gerswhin, hallowed names in the pantheon of composers, alongside the team of Dubose and Dorothy Heyward, it premiered in Boston in 1935 enduring decades of controversy and change. Countless directors have sought to broaden or temper its appeal depending on the political winds of the day, yet it endures as a powerful love story, that like Shakespeare’s Romeo and Juliet, doesn’t rely on a happy ending to emphasize its appeal. It’s a story about people, in this case Southern Blacks, who share the same emotional struggles, fears and human connections that people experience all over the world. The difference is that this is the 1930’s South, and despite the legal gains of racial justice after the Civil War, much of the country remained/remains a society based on race and class. Porgy and Bess is still very much a period piece of a time and place with echoes of bygone days, but so are many of our most enduring stories and greatest operas whose central themes focus on the universality of the human enigma.

In the expert hands of Director Francesca Zambello, who brought it to the Kennedy Center stage twenty years before, this quintessential American opera retains its broad appeal with an extraordinary cast filled with glorious African American voices and led by an amazing new Black conductor, Kwamé Ryan in his WNO debut.

My enduring love affair with the opera began decades ago when it was made into a Broadway show and later a film with Sidney Poitier and Dorothy Dandridge in the lead roles. Though neither one of these mega stars could sing and professional singers were dubbed in on the recording, these songs became huge hits, and I can recall countless hours listening to it on a record player. Songs like “Summertime”, “A Woman is a Sometime Thing”, “Nightime, Daytime”, “I Got Plenty O’ Nuttin’”, “Bess, You is My Woman Now”, “It Ain’t Necessarily So”, “I Loves You, Porgy”, “I’m On My Way” and other iconic Gershwin tunes forever cemented in Broadway musical theater anthology brought a bright fusion of opera, jazz and musicals. But I digress with chatter about memories.

Cast of Washington National Opera‘s Porgy and Bess (Photo/Cory Weaver)

The story is set in Charleston, South Carolina in the 1950’s in Catfish Row, a community of poor Blacks who plied the coastal waters as fisherman as the women toiled in White households. It centers around Porgy, a large, crippled, big-hearted man; Bess, his beloved; Crown, her abusive, sometime boyfriend; Sportin’ Life, a slick and slithery drug pusher; Maria, the matriarch of the town; Clara, a new mother and her husband Jake, a fisherman; Serena, one of the ladies, and a large community of their neighbors who, though these women exist in a restrictive bubble, have both agency and resilience.

It does little good to write up the story of their interactions, when it is far easier to google it up as it’s well known to opera buffs and those who saw the movie, even though every production has its own singular approach to its telling.

I want to point out that Eric Sean Fogel’s choreography is of central importance – both in the gambling scenes, the praising God church scenes and the big dance numbers – of special note is Sportin’ Life’s cool dance moves and the crackling electricity of all the other dancers. Mark McCullough’s lighting design adds to the general ambiance – flooding the stage in honey tones for the daybreak scenes where the hustle and bustle of daily life begins, to the dramatic hurricane scenes, which, if you’re not prepared, will startle you out of your seat from the cacophony of lightning and thunder.

Chauncey Packer (Sportin’ Life) and cast of Washington National Opera‘s Porgy and Bess (Photo/Cory Weaver)

Highly recommended!!! I can still feel it straight down inside my bones! Do yourself a favor and snag tickets to this phenomenal staging and enjoy a superb cast in the Gershwin classic. You will witness opera history at its finest.

With Michael Sumuel or Reginald Smith, Jr. as Porgy; Brittany Renee or Alyson Cambridge as Bess; Viviana Goodwin as Clara; Amber R. Monroe as Serena; Denyce Graves as Maria; Chauncey Packer as Sportin’ Life; Kenneth Kellogg or Norman Garrett as Crown; Benjamin Taylor as Jake; Marquita Raley-Cooper as Strawberry Woman; Alexandria Crichlow as Lily; Brittani McNeill as Annie; Jonathan Pierce Rhodes as Mingo; Daniel Sampson as Robbins; Keith Craig as Peter the Honeyman; Ernest Jackson as Nelson; Anthony P. Ballard as Crabman; Nicolas LaGesse as Jim; Jarrod Lee as Undertaker; Scott Ward Abernathy as Detective; and James Whalen as Coroner. With the Washington National Opera Orchestra, the Washington National Opera Chorus and the Washington National Opera Corps of Dancers.

With Set Design by Peter J. Davison and Costume Design by Paul Tazewell.

Through May 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 www.Kennedy-Center.org.

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.

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.

World Premiere Schmigadoon! is a Wacky, Wonderful Spoof of Early Broadway Musicals Now at the Kennedy Center

World Premiere Schmigadoon! is a Wacky, Wonderful Spoof of Early Broadway Musicals Now at the Kennedy Center

Schmigadoon!
The John F. Kennedy Center for the Performing Arts
Jordan Wright
February 3, 2025 

Sara Chase, McKenzie Kurtz, and Alex Brightman (Photo/Matthew Murphy and Evan Zimmerman)

There was such a tremendous reception from the audience for every pun, joke, dance, slow burn and musical number throughout the sell-out performance of Schmigadoon! I attended last night, that I had to wonder what in the Sam Hell was up. The rousing applause and laughter were something I’d expect from avid theatregoers who come to a show having seen it before, maybe many times over, and are huge fans. I had to do a little digging to discover what the heck is the secret sauce to its immediate unquestionable success – especially given that the show is a spoof on old time musicals from the 50’s and 60’s and there was a young audience in total thrall.

If you didn’t see it, the series premiered on Apple TV + featuring a well-known cast of television and B’way superstars. Fans followed two seasons of episodes, and it was a huge hit winning kudos and awards along the way. Fast forward to this brand-new, live stage iteration and there’s your audience… plus anyone who grew up with these earlier musicals. To identify a few of the original tunes taken to hilarious heights, I thought I recognized The Music ManBrigadoon (naturally), CarouselOklahomaSouth Pacific and How to Succeed in Business Without Really Trying. When you figure out the rest, let me know.

Emily Skinner and the cast of Schmigadoon (Photo/Matthew Murphy and Evan Zimmerman)

For those unfamiliar with the story, it focuses on a young couple who have both literally and figuratively lost their way while on a weekend camping trip when they cross a bridge to find themselves in the throwback 1910’s in the mythical town of Schmigadoon. These two medical doctors, Josh and Melissa who are in the midst of a lovers’ spat, live in present-day New York City. In this retro, small town USA they find they are entirely out of their element, both socially and politically as they discover a community driven by Puritan values and yesteryear’s ignorance. But wow, can these small-town guys and gals sing and dance! As they say here, in a twist on the old trope, “Yee hawk”.

Eloise Kropp, Sara Chase, and Phillip Attmore (Photo/Matthew Murphy and Evan Zimmerman)

This world premiere musical has a cast chock-a-block with beloved Broadway, film and TV veteran performers who sang their faces off to an audience who hooted and hollered with glee. So did we. It’s silly, sweet and infectious, while harkening back to a Victorian era when love was as pure as the driven snow and pre-marital sex and having babies out of wedlock was beyond the pale. All that makes for some wacky scenarios as Josh and Melissa thread their way back to their love for each other helped by an adorable town crier kid, Carson, who damn near steals the show.

Linda Cho’s costumes reflect vintage country with the ladies in floral prairie dresses and the men in Victorian daytime formal wear or farm togs with high-waisted trousers held up by wide suspenders. Director and choreographer, Christopher Gatelli steers the chorus line into some serious high-stepping dance moves from kicks, leaps and flips to a brilliantly executed tap number.

Alex Brightman and the cast of Schmigadoon (Photo/Matthew Murphy and Evan Zimmerman)

You will lean in close to pluck out Book, Music and Lyrics Composer, Cinco Paul’s references to past musicals. I had alternate tunes from early musicals running rampant in my brain while trying to focus on the music at hand. I cadged a few (see above). Unfortunately, the program gives no hint. There’s your challenge.

For old school aficionados of period Broadway musicals plus the younger audience who followed the TV series (did I leave anyone out?) this wacky, wonderful, farcical musical is for you.

09_Brad Oscar and Kevin Del Aguila_Photo by Matthew Murphy and Evan Zimmerman

Starring Alex Brightman as Josh, Sara Chase as Melissa, Ann Harada from the original cast as Florence Menlove, Brad Oscar as Mayor Menlove, Emily Skinner as Mildred Layton, Ryan Vasquezas Danny Bailey, Javier Muñoz as Doc Lopez, McKenzie Kurtz as Betsy McDonough, Ayaan Diop as Carson Tate, Isabelle McCalla as Emma Tate, Kevin Del Aguila as Reverend Layton/Leprechaun with Phillip Attmore as Freddy, Brandon Block as Buford Riggs, Holly Ann Butler as Helen Pritt, Max Clayton as Larry the Fireman, Kimberly Immanuel as Zaneeta, Eloise Kropp as Nancy, Jess LeProtto as Pete, Nathan Lucrezio as Farmer McDonough, Lauralyn McClelland as Ruth O’Reilly, Shina Ann Morris as Norma Nelson, Angel Reda as The Countess Gabrielle Von Blerkom, and Richard Riaz Yoder as Harvey the Innkeeper.

Scenic Design by Scott Pask, Lighting Design by Jen Schriever, Sound Design by Haley Parcher.  With the Kennedy Center Opera House Orchestra under the Musical Direction of Steven Malone and Jay Crowder.

Highly recommended. It’s a short run so snag your tix asap!

Through February 9th at the Kennedy Center, 2700 F Street, NW, Washington, DC 20566. For tickets call the box office at 202 416-8540 or visit www.Kennedy-Center.org.

In The &Juliet Musical Rom-Com Juliet and Her BFFs Flip the Script at the Kennedy Center

In the &Juliet Musical Rom-Com Juliet and Her BFFs Flip the Script at the Kennedy Center

&Juliet
The John F. Kennedy Center for the Performing Arts
Jordan Wright
December 23, 2024

The company of the North American Tour of & JULIET (Photo/Matthew Murphy)

Curious theatregoers are wondering, what happened to Romeo? Not to worry, readers, Romeo is in the house in full. But in this switcheroo, Anne Hathaway rewrites the classic play in which the ladies take charge. What if Juliet didn’t kill herself? So move over, Will, these ladies are on fire! In this female empowerment story, familiar pop hits from Max Martin, who wrote massive multi-platinum tracks for pop princesses like Taylor Swift, Pink, Katy Perry, Brittany Spears, Kelly Clarkson and Ariana Grande, collaborates on the music with fellow hitmakers tweaking the tunes to fit the plot. Speaking of the plot, sweet Juliet along with her kickass besties, Anne Hathaway as April and identity-confused May, “I’m Not a Girl, Not Yet a Woman”, get to flip the script on our pal Romeo, here self-portrayed as an insecure dolt who’s still madly in love with Juliet. Yes! He comes back to life too.

Corey Mach and Teal Wicks (Photo/Matthew Murphy)

You’ll need to suspend all notions of ye olde Shakespearean plots and dialogue because this iteration is a rock concert on steroids. To picture how it’s presented, imagine your English Renaissance characters sporting Jacobean hip-hop gear while breakdancing and pop-locking, krumping and kicking to a ferociously fierce beat provided by the Kennedy Center Opera House Orchestra who collaborate with the production’s own musicians.

While feisty Anne and Will trade barbs and witty quips – the adorable Will occasionally stealing back the plot from her – romance abounds. It’s a modern-day rom-com cum musical with the known-world characters finally having their say. Nurse, Angelique, is no shrinking violet either. In fact, she has her share of some of the snarkiest lines. It’s a huge, multi-diverse cast with killer voices, belting out 29 mega hits that keep the audience dancing in their seats. Because who can sit still for deliciously hot chart-toppers like “Oops, I Did It Again”, “Teenage Dream/Break Free”, “Roar”, “I Kissed a Girl”, “Baby One More Time” and “Whataya Want From Me” that François duets in a word-duel with May.

This multi-award-winning show is big fun! Catch it while you can!

Kathryn Allison (Photo/Matthew Murphy)

Directed by Luke Sheppard with Rachel Simone Webb as Juliet; Teal Wicks as Anne; Corey Mach as Shakespeare; Nick Drake as May; Kathryn Allison as Angélique; Michael Canu as Romeo; Paul-Jordan Jansen as Romeo; Mateus Leite Cardoso as François; Naima Alakham as Lady Capulet/Nell; Nella Cole as Eleanor/Benvolio; Camille Brooks as Judith; Lois Ellise as Susanna; Ishmael Gonzalez as Gregory; Kenneth Onesimus Goubran as Augustine; Shelby Griswold as Lucy; Christopher Robert Hanford as Henry; Jourdan Ibe as Lennox; Josh Jordan as Richard; Nichole Lamb as Margaret; Yoshi Maysonet as Dion; Usman Ali Mughal as Lord Capulet/Sly; Jaydon Nget as Kempe; Kyra Smith as Titania; and Francisco Thurston as Cuthbert.

Music and Lyrics by Max Martin and Friends; Book by David West Read; Music Supervisor, Orchestrations and Arrangements by Bill Sherman; Choreographed by Jennifer Weber; Scenic Design by Soutra Gilmore; Costume Design by Paloma Young; Lighting Design by Howard Hudson; Sound Design by Gareth Owen; Video & Projection Design by Andrzej Goulding; Hair/Wig & Makeup Design by J. Jared Janas; Dance Captain, Francisco Thurston.

Through January 5th in the Opera House 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 the website at www.Kennedy-Center.org