Flashy, Splashy, Glam and Glitzy SIX the Multi-Award Winning Pop Musical Hits the National Theatre
SIX the Musical
Broadway at the National
Jordan Wright
November 13, 2024
 (Photo/Joan Marcus) Six Tudor “Roses” burst onto the stage with such fire and ferocity the audience breaks into cheers. It’s clear from those seat-dancing they’re mega-fans. From the opening number, the cast of queens holds “court” (that’s us!) in their regal thrall. Backed by a sizzling hot, five-piece band, the ex-wives of Henry the VIII seductively recount inglorious tales of their spousal experiences – “divorced, beheaded, died, divorced, beheaded, survived”. It’s a quirky mnemonic learned by British schoolchildren to recall the horrible fate of Henry’s wives.
It might seem a quantum leap to take a historic era in British royal history and turn it into a pop/hip-hop/rap musical, but here it becomes a catchy vehicle for female empowerment. Based on their marriages to Henry, the wives regale us with the cruelties, infidelities and vagaries of a notoriously nasty king. But, as we all know, payback’s a bitch. Suffice it to say the from the moment these hot exes step out onto the stage, the audience is in on the fun… and what fun this crazy, amazing show is. On the night I was there, as one of the wives is describing her marriage, a man from the crowd yells out, “F*** that dude!” The audience went absolutely wild.
SIX The Musical is a rock concert experience – a flashy, splashy, glam and glitzy, rap plus sing concert with nine memorable numbers betwixt the wives’ accounts of what they suffered under the king’s edicts. Laid out as a contest for the audience to vote on which of the ladies suffered the worst injustices and penultimate punishments, they each make their case in a mashup of street-smart jargon and Valley Girl slang – “Sorry, not sorry”, declares Anne Boleyn after stealing Henry away from his first wife. It’s “herstory” against “his-story” and here the ladies’ come back from the grave with a royal vengeance. Breaking the fourth wall to appeal to the audience, the Queens settle their scores with song and dance while vying to win our vote. As these divas say, they have “the riffs to ruffle your ruffs”.
In sequential order we hear from Catherine of Aragon (Chani Maisonet) who channels Beyoncé and Shakira in “No Way”; to Anne Boleyn (Gaby Albo) whose inspiration is Lily Allen and Avril Lavigne in “Don’t Lose Ur Head”; to Jane Seymour (Kelly Denice Taylor) in “Heart of Stone” who is inspired by Adele and Sia to rap/sing her story; to fourth wife Anna of Cleves (Danielle Mendoza) in “Get Down” whose “Queenspirations” are Nicki Minaj and Rihanna; to Katherine Howard (Alizé Cruz) with “All You Wanna Do” who nails a mashup of Ariana Grande and Britney Spears; and lastly, the “soul” survivor Catherine Parr (Tasia Jungbauer) with the killer ballad “I Don’t Need Your Love”. Her avatars are Alicia Keys and Emeli Sandé. N. B. the six-part harmonies are gorgeous.
 (Photo/Joan Marcus) With book, music and lyrics by Tony Marlow and Lucy Moss and directed by Lucy Moss, SIX has garnered a total of 23 awards including the Tony Award for Best Original Score (Music and Lyrics) and the Outer Critics Circle Award for Best Musical and the show’s album has reached stratospheric streaming heights in its first month.
Originally performed in England by the Cambridge Musical Theatre Society, the costumes are shiny-punk sensational, the stage is laser-lit and the onstage band is insane. And although I thought I heard shades of Madonna in the Catherine of Aragon character and Lizzo in Mendoza’s portrayal of Anne of Cleves, you will no doubt detect the vocal stylings of your favorite pop stars.
Choreography by Carrie-Anne Ingrouille, Scenic Design by Emma Bailey, Costume Design by Gabriella Slade, Lighting Design by Tim Deiling, Sound Design by Paul Gatehouse and Orchestrations by Tom Curran.
Highly recommended!!! Jump on it. Tickets will be hard to come by.
Now playing through December 1st at National Theatre DC, 1321 Pennsylvania Avenue, NW Washington, DC 20004. For tickets and information visit www.TheNationalDC.com or call the box office at (877) 302-2929.
Hysteria and High Jinks in Sondheim’s A Funny Thing Happened on the Way to the Forum at Signature Theatre
A Funny Thing Happened on the Way to the Forum
Signature Theatre
Jordan Wright
November 10, 2024
Special to The Zebra
 The cast of A Funny Thing Happened on the Way to the Forum at Signature Theatre (Photo/Christopher Mueller) Not just funny, but side-splittingly funny – plus zany, goofy, clever, punny, sideways, witty, gummed up, nutso and nonsensical. And that’s just the plot. Is there a plot? Well, yes there is. It’s there to support the jokes and innuendos, swordfights and belly dancers. Did you say belly dancers? In Greece? Sure, toss that in too. Not everything aligns with Hellenic culture, but if it whacked the funny bone, co-authors Larry Gelbart and Burt Shevelove gleefully found a spot for it.
And it goes like this. Young Hero (Zachary Keller) falls in love with a pretty girl, Philia (Kuhoo Verma) who is holed up in a house of prostitution awaiting the arrival of Miles Gloriosus (Cameron Loyal), a dashing, well-muscled, vainglorius Captain who has purchased the comely virgin. Hero’s wily slave Pseudolus (Erin Weaver) makes him a deal. In exchange for his freedom, he will deliver the girl to him. Together they buck his father Senex’s (Christopher Bloch) and mother Domina’s (Tracy Lynn Olivera) control to fight off con artists and soldiers, navigate the wiles of glamorous courtesans, rescue the girl (not a virgin, but at this point who cares?) and live happily ever after. But first they must seize her from the clutches of Lycus (Lawrence Redmond), the town’s brothel owner in whose house the girl is being kept.
Guises and disguises, foolishness and fools, gladiators and pirates all conspire to muck up their plan. Gray-bearded Erronius (Sherri L. Edelen), in search of his long-lost children, arrives onstage in well-timed increments geared to punctuate the absurdity of it all. At this point you’re either rolling in the aisles or falling out of your seat. Quietly pick yourself up. No one will notice because they have also doubled over and are scraping themselves off the floor.
 Cameron Loyal (Miles Gloriosus) and Erin Weaver (Pseudolus) center with Kaylee Olson, Nolan Montgomery, Emily Steinhardt, Ryan Sellers and Harrison Smith (Photo/Christopher Mueller) I was massively impressed by the experienced cast – most especially Weaver, whom I’m sure you all know if you’re up on the local theater scene, ditto for Redmond, Bloch, Olivera, Edelen who also plays the courtesan Vibrata, Ryan Sellers, Hank Von Kolnitz, Harrison Smith, Dylan Arredondo and Mike Millan – all Signature alums. The result is an action-packed, har-dee-har-har fest and the perfect panacea for our times.
What I wasn’t expecting was the vocal + performing talents of Loyal, a New York-based actor whose amazing voice coupled with his comic timing was absolutely fantastic; Keller, whose voice and adorableness put me in mind of Ben Platt in Dear Evan Hansen; and Verma, whose portrayal of Hero’s ditsy love interest blending high comedy with girlish innocence was absolute perfection.
A Funny Thing Happened on the Way to the Forum was Stephen Sondheim’s first composer + lyricist writing credit. At thirty-two years old, he had already had two huge B’way hits as the lyricist on West Side Story and Gypsy. I don’t need to tell you, dear theatregoer, of the mountains of awards and success that followed. Signature’s close relationship with Sondheim’s works makes them singularly poised to return this beloved classic to the stage.
 Kaylee Olson (Tintinabula), Zachary Keller (Hero) and Erin Weaver (Pseudolus) (Photo/Daniel Rader) Here a 15-piece orchestra sets the mood with a classic and sweeping Broadway overture. The well-known tune “Comedy Tonight” opens the first scene, showing us that the Greeks could do a chorus line and jazz hands as well as anyone. And although there are 14 more numbers to follow, I’m waiting for “Everybody Ought to Have a Maid”, a catchy first act number.
High praise to Director and Choreographer Matthew Gardiner and his production team. I’m singling out Jimmy Stubbs’ Palladian set design – Grecian columns and all – and Erik Teague’s costume design). With Music Direction by Jon Kalbfleisch; Lighting Design by Jason Lyons; Wig Design by Anne Nesmith; Fight Choreographer Casey Kaleba; and Intimacy Consultant & Choreographer Chelsea Pace.
Additional cast: Kaylee Olson as Tintinabula; Emily Steinhardt as Panacea; Nolan Montgomery as Gymnasia.
Highly recommended. Hilarity and high jinks at their finest!!!
 Zachary Keller (Hero), Kuhoo Verma (Philia) and Erin Weaver (Photo/Daniel Rader) Through January 12th at Signature Theatre, 4200 Campbell Avenue in Shirlington Village, Arlington, VA 22206. For tickets and information call the box office at 703 820-9771 or visit www.SigTheatre.org.
Multi-Award Winning Stage and Screen Actor John Leguizamo Wrote and Stars in The Other Americas at Arena Stage
The Other Americans
Arena Stage
Jordan Wright
November 6, 2024
Special to The Zebra
 Bradley James Tejeda (Eddie), Luna Lauren Velez (Patti), Rosa Arredondo (Norma), Rebecca Jimenez (Toni), and John Leguizamo (Nelson) (Photo/T. Charles Erickson Photography.) Reflecting style elements of “I Love Lucy”, “American Family”, “Primo”, “One Day at a Time”, “Chico and the Man”, “Ugly Betty”, “Modern Family”, “George Lopez” and other well-loved TV sitcoms based on the Latino experience in America, The Other Americans tells a story about a humorous and dysfunctional Columbian American family struggling to achieve the ‘American Dream’ while at the same time keeping their family from falling apart. Yet, unlike many feel-good, living-in-America TV shows, this searing play reveals a far darker theme than other. It revolves around a suicidal son and a family in crisis.
Playwright, John Leguizamo is a multi-award-winning actor and playwright who has garnered more than his share of Tony, Emmy, Drama Desk, Obie and Outer Critics Circle awards. As well-known for stand-up as for his film work, often portraying gritty characters on the fringes of society, Leguizamo both wrote and stars in this world premiere family dramedy that showcases his live performance skills and film experience. In the role of Nelson, he gives us a father and jokester whose outsized ego systematically tears apart the family he most loves.
 Luna Lauren Velez (Patti) and John Leguizamo (Nelson) (Photo/T. Charles Erickson Photography.) It begins with light banter between Nelson, Eddie, Veronica and Patti. Patti is preparing a large Latino style meal to celebrate Nicky’s return home. While they await Nicky’s return, the couple tease each other playfully, bust a move to Latin and disco music and blame each other relentlessly for Nicky’s mental breakdown. We begin to see Nelson’s drinking problem, his demeaning treatment of Eddie and his domineering attitude towards Patti. Nelson owns a string of laundromats inherited from his father and the family is living a comfortable life with a just-built swimming pool in hopes of convincing competitive swimmer Nicky to stay at home.
When Nicky returns any hope of family unity collapses quickly as both Nelson and Patti act out their frustrations towards him and each other for his refusal to accept their plans for his future. Nelson pressures him to go into the laundromat biz, while Patti insists he live at home and return to his college education. However, in a flash of self-determination, Nicky declares his intent to move in with the elusive Mitzi and become a choreographer. This becomes yet another rift in an already high-stress environment, making clear clear that no one’s agency is valued in this emotionally unstable household.
 Rebecca Jimenez (Toni), Rosa Arredondo (Norma), and Sarah Nina Hayon (Veronica) Along with the intense drama of a family in financial and emotional trauma are elements of comic relief. The lines are cleverly written and deftly acted, yet this story is about a family who descends into a nobody-wins, all-out competition of sabotage and self-destruction and it’s not until the second act when Nicky’s illness is revealed. Cue a story of racism and violence.
As despicable a character as he has written for himself, Leguizamo’s performance as Nelson is extraordinary. His capacity for warp-speed morphing from caring father to domineering husband to chief manipulator and one-man insult factory is a master class in and of itself. But it can only be successful with the counterbalance of co-star Velez’s stellar performance as Patti who matches his fire, as well as Trey Santiago-Hudson’s searing star turn as Nicky.
 Rebecca Jimenez (Toni) and Trey Santiago-Hudson (Nicky) (Photo/T. Charles Erickson Photography.) Thanks to the brilliance of famed director Ruben Santiago-Hudson this broadly complex American tragedy comes to life only to echo the destructive human conflicts that seem never to be resolved. What serves to temper the drama is Patti’s actual cooking, done onstage with accompanying aromas thanks to Arnulfo Maldonado’s brilliant set design of a functioning kitchen + living room + bedroom + outdoor swimming pool – all enhanced by Simon Adrian’s and Kayla Prough’s props.
Destined to be an American classic.
 John Leguizamo (Nelson) and Luna Lauren Velez (Patti) (Photo/T. Charles Erickson Photography.) Associate Director Timothy Johnson; Dramaturg Jack Moore; Costumes by Kara Harmon; Lighting Design by Jen Schriever; Sound Design by Justin Ellington; Original Music by Ricky Gonzalez; Hair Design by LaShawn Melton; Fight Director, Thomas Schall; and Intimacy Coordinator, Ann C. James.
Through November 24th at Arena Stage on the Fichandler Stage, 1101 Sixth Street, SW, Washington, DC 20024. For tickets and information call the box office at 202 488-3300 or visit www.ArenaStage.org.
Kennedy Center’s All Star Cast Shines in Fidelio – Beethoven’s Only Opera Merges Love, War and Tenderness
Fidelio
The John F. Kennedy Center for the Performing Arts
Jordan Wright
October 28, 2024
 Derek Welton (Pizarro), David Leigh (Rocco), Sinéad Campbell Wallace (Leonore), Jamez McCorkle (Florestan) (Photo/Cory Weaver) Hear ye! Hear ye! Ludvig Van Beethoven’s Fidelio is revived at the Kennedy Center! The only opera the composer ever wrote took him decades to finish and was poorly received when it premiered in Vienna in 1805. Since then, it has undergone the efforts of three librettists, overture substitutions and ten difficult years of struggles until ultimately becoming the sweeping opera we know today.
Written during the extreme censorship period after the French Revolution in the aftermath of the Reign of Terror, Beethoven was forced to work in secret and at the very same time he had begun to lose his hearing. It is a radical departure from the dire politics of the period and a time in which any discussion of peace, enduring love, and ultimate freedom from those in power would have meant imprisonment. In this climate, the composer who held firmly to the belief that love conquers all and love endures all things including torture, imprisonment and starvation, toiled.
 Sinéad Campbell Wallace and Jamez McCorkle (Photo/Cory Weaver) Based on a true story, Florestan (James McCorkle) is a revolutionary leader jailed in a Spanish prison for his political views. To free him, his faithful wife, Lenore (Sinéad Campbell Wallace) disguises herself as a man, Fidelio. Lenore as Fidelio comes to work for Rocco (David Leigh) the prison warden whose daughter, Marzelline (Tiffany Choe) has fallen madly in love with Fidelio thinking he’s a man, and spurned her avid suitor, Jaquino (Sahel Salam). Don Pizarro (Derek Welton) is the cruel governor of the prison who imprisoned Florestan. Deeming him to be a threat to his power, Pizarro plans to kill him. The French called this a “rescue opera” evolving from the term “opéra comique”. Because, yes! There are some very funny bits, especially in the mistaken identity of Fidelio as a man.
Erhard Rom’s set design on a two-tiered stage features backdrops by Projection Designers S. Katy Tucker and Kylee Loera who use black & white newsreels of marching troops and battles with headlines – “Ban on Public Assembly”, “Florestan Arrested” and “Free Florestan” – reflecting the tenor of public protests anywhere in the world. In fact, we are not entirely certain where this is taking place though it is highly relatable to oppressive governments both past and present. The vintage film clips reflect shades of Nazi Germany, Peron’s war on the people of Argentina or the Soviet Era under Stalin. Two (live!) German Shepherds suggest Germany, but it could be any repressive government then or now.
 Washington National Opera’s production of Fidelio (Photo/Cory Weaver) The drama revs up when Rocco asks Fidelio to help him dig Florestan’s grave before Don Pizarro’s imminent arrival with plans to murder Florestan. This is the moment when Lenore sees her husband in his cold, dark, dank cell chained to the wall and suffering from starvation. The duets are so beautiful and tender and the situation so dire and urgent that you will easily be swept up in the heart-breaking emotion of it all.
We don’t see megastar Denyce Graves as the kindly Prime Minister until the end when the prisoners are freed, but that doesn’t make it any less of a role. In fact, she was so excited to perform in this opera she revealed, “It will be my first time singing Beethoven, and Fidelio was the first opera I ever saw as a child, which happened to be the Washington National Opera!”
The 37-person Washington National Opera Chorus is lavishly underpinned by 11 supernumeraries and the entire Washington National Opera Orchestra to give this debut an extraordinarily full-throated back up.
If you’re a fan of Beethoven, you won’t want to miss seeing this presentation of his only opera.
 Tiffany Choe (Marzelline) and Sahel Salam (Jaquino) (Photo/Cory Weaver) Conductor Robert Spano; Costume Designer Anita Yavich; Lighting Designer Jane Cox; Dramaturg Kelly Rourke; Assistant Director Amy Hutchison. With Chaźmen Williams Ali as 1st Prisoner and Jim Williams as 2nd Prisoner/Prime Minister’s Assistant.
Through November 4th at the John F. Kennedy Center for the Performing Arts, 2700 F Street, NW, Washington, DC 20566. For tickets and information call te box office at 202 467-4600 or visit www.Kennedy-Center.org.
Best of the Best Jekyll & Hyde the Musical Thrills and Chills at The Little Theatre of Alexandria
Jekyll & Hyde
The Musical
The Little Theatre of Alexandria
Jordan Wright
October 22, 2024
Special to The Zebra
 (L to R): Shelby Young, Michael McGovern “In each of us there are two natures,” asserts Dr. Henry Jekyll who before long will take his claim of psychological duality to the depths of diabolical depravity surrounded by his fellow Victorians. Within a society so prim, proper and structured some of the most horrific crimes were committed and fantasized about.
Jekyll & Hyde, the musical, is based on Robert Louis Stevenson’s original Gothic horror novella. Set in 1888, Year One of the twelve gruesome Whitechapel murders in London’s East End and the start of Jack the Ripper’s staggering crime spree, it becomes the framework for Dr. Jekyll’s forays into the sordid side of London where he finds himself celebrating his engagement at the Red Rat cabaret with his trusted attorney, Gabriel John Utterson. But let’s not get ahead of ourselves.
Ostracized for his dangerous theories by the Board of Governors of the local hospital and given no latitude to pursue his experiments, the young doctor retreats to his home laboratory to prove he can rid society of the evils of all mankind. Using himself as the subject experiment, Jekyll begins his transformation into the murderous monster he will become as Mr. Edward Hyde.
 (L to R): Michael McGovern, James Best, Mylo Cluff, Andrew Cosner, Nathaniel McCay, Amanda Jones, Cristian Bustillos (Photo/Mark Armstrong) Underpinned by a lavish score, this jaw-dropping production, framed by an astounding 40 musical numbers, offers up a terrific cast. Led by a treasure of a performer in Michael E. McGovern (where has he been hiding?) as both Jekyll and Hyde, this show delivers on all levels from stellar cast to inventive set design to intricate staging on a two-tiered stage. With a 24-member cast and 12-piece orchestra playing multiple instruments, high praise goes to Director Jennifer Hardin, Choreographer Stefan Sittig, Fight Captain Nathaniel McCay and Music Director Mark V. Deal. It takes a village to stage this mammoth musical and do it justice and this production team has achieved it magnificently.
Complementing McGovern is Shelby Young as Emma, Jekyll’s fiancée. Emma is the perfect Jekyll’s descent into madness in her charm, beauty and grace. With her gorgeous soprano voice, Young fulfills this role to perfection. Her rival for Jekyll’s affections is Lucy Harris, played by Lexi Mellott. Mellott has terrific timing plus outstanding vocal and dance chops wowing the audience in her seductive cabaret number “Bring on the Men” backed by the Red Rat chorus line. Hyde’s unctuous obsession with the captivating gamin is compelling.
You will thrill to Emma’s heart-wrenching number, “Once Upon a Dream”, Jekyll’s “I Need to Know”, “This is the Moment” and “Alive” as well as Lucy’s poignant “A New Life” and her duet with Hyde in a danse macabre “Dangerous Game”.
 Michael McGovern (Photo/Mark Armstrong) Watching McGovern transform into Mr. Hyde, the incalculably villainous monster, is both riveting and frightening. Over the past decade I have reviewed some amazing, WATCH award-winning musicals at LTA, but this one stands among the top ten on my “Best of the Best” list.
If you like Sweeney Todd, Chicago, Phantom of the Opera and Cabaret, imagine those iconic musicals combined in one show and you’ve got the picture. Here sweet romance, grisly murders, a hot jazz club and high and low society coexist in one rip-roaring musical.
Highly recommended. An absolute must-see show!
 (L to R): Cristina Casais, Shannon Hardy, Dani Lock, Melanie Campbell With Matt Yinger as Gabriel John Utterson; Brian Ash as Sir Danvers Carew; Michael Blinde as Jekyll’s Father/Inmate/Priest/Ensemble; Nathaniel McCay as Simon Stride; Amanda Jones as Lady Beaconsfield; Andrew Cosner as The Bishop of Basingstoke; Mylo Cluff as Lord Savage; Cristian Bustillos as General Lord Glossop; James Best as Sir Archibald Proops; Melanie Campbell, Cristina Casais, Shannon Hardy and Dani Lock as Red Rat Girl/Ensemble; Robin Lewis as Nellie, a prostitute; Jae Damauier as Spider, a pimp; Dino Vergura as Bisset Apothecary/Featured Ensemble; and Sharon Eddy, Josh Katz, Jillian Rubino and Garrett Walsh in the ensemble.
Conceived for the stage by Steve Cuden & Frank Wildhorn; Book and Lyrics by Leslie Bricusse; Music by Frank Wildhorn; Orchestration by Kim Scharnberg; Arrangements by Jason Howland; Produced by Luana Bossolo & Sheri Ratick Stroud; Directed by Jennifer Hardin; Music Direction by Mark V. Deal; Choreography by Stefan Sittig; Set Design by Lawrence “Skip” Gresko; Lighting Design by JK Lighting; Sound Design by David Correia; Period Costume Design by Jean Schlichting and Kit Sibley; Stage Combat/Intimacy Co-Directors Brianna Goode and Stefan Sittig; Special Effects and Multimedia Design by David Moretti; Dialect Coach Alden Michels; Hair Design/Makeup Design by Robin Maline and Lanae Sterrett.
Through November 9th at The Little Theatre of Alexandria, 600 Wolfe Street, Alexandria, VA 22314. For tickets and information call the box office at 703 683-5778 or visit www.TheLittleTheatre.com
The 25th Annual Putnam County Spelling Bee Is Loaded with Mega-Broadway Stars in an Uproarious Comedy at the Kennedy Center
The 25th Annual Putnam County Spelling Bee
The John F. Kennedy Center for the Performing Arts
Jordan Wright
October 15, 2024
 The cast of The 25th Annual Putnam County Spelling Bee (Photo/Matthew Murphy) For those whose middle school memories harken to a time of crushing insecurities and the dread of not fitting in, have I got a musical for you! The 25th Annual Putnam County Spelling Bee will remind you that nothing has changed in the challenging world of teenage angst. Adorably lovable dorks, dweebs, do-gooders, nerds and overachievers will be your new BFFs in this uproarious production featuring the oddball world of spelling bee competitions. (Note to parents of aspiring qualifiers. The annual Scripps National Spelling Bee is held right here in Washington, DC.)
That the characters in this delightful musical are not exactly unique in the world of middle school kids doesn’t get in the way of composer William Finn and conceptualizer Rebecca Feldman tapping into universal kiddie neuroses. We really do feel their pain, squirming and agonizing over obscure words like capybara or hasenpfeffer. “Can you use that in a sentence?” they query the pronouncer.
 Beanie Feldstein and the cast of The 25th Annual Putnam County Spelling Bee (Photo/Matthew Murphy) The twist is that actual audience members are brought on stage to join the “bee”. Opening night had the celebrity chef, Carla Hall, who played along good-heartedly till her elimination with the word ‘pineapple’ described by Vice Principal Panch as “a popular safe word for couples.” Another volunteer spelled a difficult word correctly, surprising everyone. Panch asked her to miss a word so “we can move this along.” Gales of laughter from the wildly enthusiastic audience who seemed prepped for the 2025 Project jokes and the drag-queens-reading-to-kids-in-libraries references.
Along with the six quirky students and their super-cool, jive-talking “Comfort Counselor”, Mitch Mahoney (Alex Joseph Grayson), the kids share the stage with Vice Principal Douglas Panch (Taran Killam) “It’s annoying what micro-dosing of Ketamine can do,” he quips. Secretary Rona Lisa Peretti (Bonnie Milligan), a former bee winner, keeps the antsy students well in hand while Panch reminds the audience that, “The best way to alleviate stress about an upcoming election is to see a musical comedy.” This reviewer totally agrees.
 Bonnie Milligan and Taran Killam_Photo by Matthew Murphy (Photo/Matthew Murphy) You’ll meet Chip Tolentino (Phillippe Arroyo) whose budding adolescent crush will dredge up all the awkwardness of early testosterone unpredictability in “Chip’s Lament” and Logainne Schwartzandgrubenierre (Beanie Feldstein), a goofy pig-tailed conformist who boasts a pair of bossy gay dads. Her fail-safe technique: To pre-spell words on her arm.
Then there’s the pretty and terminally insecure, Olive Ostrovsky (Nina White), whose abandonment by her ashram-trotting mother and distant father, bonds her to the dictionary. Olive talks into her hand to puzzle out the words, while the user-friendly, Leaf Coneybear (Noah Galvin) taps into eleventh-hour visions as his memory aids. Leaf is home-schooled and makes his own capes. Meanwhile, I’m having visions of writer Charles Shultz “Peanuts” characters writ large.
 Nina White in The 25th Annual Putnam County Spelling Bee (Photo/Matthew Murphy) For the sestalingual Marcy Park (Leana Rae Concepcion), rocking her Catholic school uniform, it’s all tediously beneath her. The hyper-accomplished, classical piano playing nerd informs us, “I’m sick and tired of being the best!”
You’ll meet the adorably gawky, spells-out-words-with-his-foot, William Barfée (Kevin McHale), “It’s pronounced Bar-fey,” he corrects Panch, employing the Gallic accent aigu. He’s the personification of teenage bluff and bluster plus a shoo-in representative for the “Lollipop Guild”. At some point in the proceedings his peanut allergies get the best of him until he’s given the word “antihistamine”. “Luck of the draw,” he stammers before acing it.
 Noah Galvin and the company of The 25th Annual Putnam County Spelling Bee (Photo/Matthew Murphy) The cast is loaded with big Broadway stars inhabiting their character’s kooky childlike personas. These pros sing their faces off through sixteen riotous numbers backed by the Kennedy Center Opera House Orchestra. Cue in on Nina White who tears the roof off with the heart-breaking “The I Love You Song”.
Directed and choreographed by Danny Mefford; Music Direction by Robert Sinha; Costume Design by Emily Rebholz; Lighting Design by David Weiner; Scenic Design by Paul Tate dePoo III; Sound Design by Haley Parcher.
Hurry! It’s a short run and it’s nearly sold out.
Through October 20th 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 www.Kennedy-Center.org.
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