Theatre & Film Archives - Page 4 of 119

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

Hurry! Hurry! Hurry to the Big Top for Broadway’s Water for Elephants at The National Theatre

Water for Elephants – The Broadway Musical

Broadway at The National

The National Theatre

Jordan Wright

December 10, 2025

The Cast of Water for Elephants. (Photo/Matthew Murphy for MurphyMade)

Step right up to a heart-stopping, tender-hearted musical steeped in early 20^th century circus culture and enhanced by life-sized puppets. If you loved the huge puppets in Life of Pi, The War Horse, and other spectacular productions like Disney’s The Lion King, this show is for you. What sets Water for Elephants apart from those mega hits, is a cast peppered with Cirque du Soleil alums. So wow! The acrobatics are breathtaking!

Setting the story is a young Polish man, Jacob Jankowski, played and sung beautifully by Zachary Keller, who we saw last year in the role of Hero in Signature Theatre’s A Funny Thing Happened at the Forum. Jacob has lost his beloved family in a car crash, and the family home has been taken by the bank. In despair, he sets out to find his future and discovers a strange life and passionate love in a traveling circus. Done as a flashback with Jacob’s father appearing throughout, it forms a circle of thrills and chills, romance and heartbreak, among the most fascinating characters you’ll ever encounter.

Zachary Keller (Jacob Jankowski) and the cast of Water for Elephants. (Photo/Matthew Murphy for MurphyMade)

Jumping on a freight train, Jacob, a veterinarian student, meets these unique characters with the ragtag Berzini Brothers circus. After some dustups with the circus workers, he is hired to care for the wild animals – a horse, a lion, a llama, a zebra, a tiger, a bear, an orangutan and a giraffe are revealed. But it is when the circus’s cruel yet dashing ringmaster, August and his beautiful wife, Marlena, come into Jacob’s life that the story takes a turn and Rosie, the elephant, becomes Marlena’s star act.

Based on the best-selling, historical novel by Sara Gruen with a beautiful score written by the Pigpen Theatre Co., this musical received 7 Tony Award nominations including “Best Book”, “Best Musical” and “Best Direction”.

Helen Krushinski (Marlena). (Photo/Matthew Murphy for MurphyMade)

Twenty-one great numbers backed by a full orchestra, fill this magical production with stirring ballads, spirited hoedown dancing and more flips, cartwheels, throws, aerialists and lifts than a three-ring circus.

It’s “tip top” and a must see this season!!!

The cast of Water for Elephants. (Photo/Matthew Murphy for MurphyMade)

With Robert Tully as Mr. Kankowski; Javier Garcia as Camel; Connor Sullivan as August/Charlie; the fabulous voice of Helen Krushinski as Marlena/June; Grant Huneycutt as Wade; Tyler West as Walter; Bradley Parrish as Sal; Ruby Gibbs as Barbara; Nancy Luna as Agnes, an orangutan; Yemie Woo as Sue; Zakeyia Lacey as Vera; Yves Artières as Silver Star, a horse; Adam Fullick as Rex, a lion; John Neurohr as Caretaker; Ella Huestis, Bradley Parrish, John Neurohr, Carl Robinett, Grant Huneycutt as Rosie, an elephant; Ella Huestis as Nurse Rosemary; Carl Robinett as Orderly and Bradley Parrish as Worker.

Book by Rick Elice; Original Direction by Jessica Stone; Circus Design by Shana Carroll; Scenic Design by Takeshi Kata; Choreography by Jesse Robb & Shana Carroll; Costume Design by David I. Reynoso; Lighting Design by Bradley King; Puppet Design by Ray Wetmore & Jr. Goodman and Camille LaBarre; Projection Design by David Bengali; Orchestra Conducted by Sarah Pool Wilhelm.

At The National Theatre through December 14^th at 1321 Pennsylvania Avenue, NW, Washington, DC 20004, For tickets and information call the box office at 800.513.7540 or visit www.TheNationalDC.com.

Sassy, Sexy and Smoking’ Hot – You’ll Be Wowed at Some Like It Hot at the National Theatre

Some Like It Hot

Broadway at The National

at The National Theatre

Jordan Wright

December 1, 2025

Leandra Ellis-Gaston (Sugar) and the First National Touring Company of Some Like It Hot. (Photo/Matthew Murphy)

Calling all hoofers, tappers and high kickers. This show is for you… and everyone else too! It’s a dance-a-palooza musical comedy with dolls and lover boys and tunes drenched in Cole Porteresque lyrics. With sassy, sexy and smokin’ hot chorines, Sweet Sue and Her Society Syncopators rule the Cheetah Club and you’ll soon find yourself in Chicago in 1933 at the height of Prohibition in a speakeasy.

When pals Joe, a sax player and Jerry, a bassist, both hoofers, find themselves without work, they head to a club owned by mob boss, Spats. As the Tip Tap Twins (Joe is White and Jerry is Black) the hoofers convince Spats to hire them. At the club they soon witness a shootout masterminded by Spats and raided by the Feds and are forced to flee for their lives. With no money and less prospects, they discover the only gig in town with Sweet Sue’s all-girl band. They soon devise a plan to dress in drag nailing the audition and becoming part of Sue’s tour as Josephine and Daphne. Trying to keep ahead of Spats’ mob and the Feds who expect the men to sing like canaries, they cozy up to the gorgeous chorus girls and Joe falls head over heels for Sugar, the band’s adorable lead singer.

Between the huge dance numbers, eighteen songs and a swell orchestra, is a 31-member cast with the energy of a supernova. Sweet Sue is played brilliantly by Dequina Moore with a powerhouse voice reminiscent of Ethel Merman.

The First National Touring Company of Some Like It Hot. (Photo/Matthew Murphy)

The twist? There are many along with the jokes, but what you should know is Daphne finds his/her authenticity as a gay man and fireworks ensue with Osgood (a most appealing Edward Juvier), a soda pop scion and owner of San Diego’s Coronado Hotel where the ensemble is booked.

Although this cast is flawless – Broadway caliber flawless – I found Tavis Kordell absolutely riveting. Couldn’t take my eyes off him. 6’ 2’’ (without the heels he wears as Daphne) he towers over everyone executing his dance moves with elegance and grace. A quintuple threat as a dancer, actor, mezzo-soprano, musician and gorgeous man, I had to check his bio to learn more about his stage experience. What I found was a UNC grad with only regional and collegiate drama experience. Seriously? Watch for his star power solo on “You Coulda Knocked Me Over With a Feather”.

Matt Loehr as Joe/Josephine is a Broadway veteran and first-class hoofer with tons of Tony Award-winning shows listed in his bio. In the number “Dance the World Away” which he sings and dances in a starry set with Leandra Ellis-Gaston (Sugar) as his dream lover, you’ll swear you’re watching Fred Astaire and Ginger Rogers.

Matt Loehr (Joe), Leandra Ellis-Gaston (Sugar), Tavis Kordell (Jerry), and the First National Touring Company of Some Like It Hot. (Photo/Matthew Murphy)

When you go to this spectacular show, and you should, you’ll come away feeling you’ve hit the jackpot of talent. Dazzling sets by Scott Task, eye-popping costumes by Gregg Barnes and unforgettable choreography and direction by Casey Nicholaw.

Highly recommended!!! With a massive cast of 30 performers, dancing and singing their way into your heart.

Darien Crago as Nellie/Syncopator; Devin Cortez as Mack; Jamal Stone as Sonny; Devon Goffman as Spats; Matt Allen as Mulligan; Michael Skrzek as Toothpick Charlie/Bar Manager; Devon Hadsell as Minnie; Nissi Shalome as Dolores/Syncopator; Ashley Marie Arnold as Ginger/Syncopator; Emily Kelly as Vivian/Syncopator; Kelly Berman as Syncopator; Madeline Kendall as Syncopator; Ranease Ryann as Syncopator; Stephen Michael Langton as Man with a Suitcase. Gangsters, Porters, Bellhops et al: Devin Cortez, Jonathan Duvelson, Drew Franklin, Stephen Michael Langton, Michael Skrzek and Jamal Stone.

Book by Matthew Lopez and Amber Ruffin; Music by Marc Shaiman; Lyrics by Scott Wittman and Marc Shaiman; Sound Design by Brian Ronan; Orchestrations by Charlie Rosen and Bryan Carter.

Through December 7^th at the National Theatre, 1321 Pennsylvania Avenue, NW, Washington, DC 20004. For tickets and information call the box office at 202.628.6161 or visit www.TheNationalDC.com.

Sensational Hadestown Blows the Roof Off at The National Theatre

Hadestown

Broadway at The National

National Theatre

Jordan Wright

November 19, 2025

Jose Contreras (Orpheus) and Hadestown North American Touring Company, 2025. (Photo/Evan Zimmerman for MurphyMade)

If you haven’t brushed up on your Greek mythology lately, you may be easily excused. Yet surely you recall the parable of the doomed lovers Orpheus and Eurydice, Hades, God of the Underworld, and his Goddess wife, Persephone. Hades forced his lady love to live with him in hell for half the year and in sunlight for the other half — a seasonal arrangement that strained their unique marriage. Hadestown, the massive 8-time Tony Award-winning musical, borrows from these myths to create a sensational story of love, loss and the power of dreams.

This colorful, theatrical carnival evokes Thomas Hart Benton’s paintings of everyday American life, the unfettered dancing of Josephine Baker, the ground-breaking jazz of Louis Armstrong, the soft sultry ballads of American folk music and the syncopated rhythms of Basin Street’s Afro-Caribbean diaspora with its familiar syncopated “strut.” It’s a fascinating polyglot of N’awlins’ roots and shoots plunked down into a parable as old as time.

This wildly exciting piece of musical theater, offers up a huge dose of consciousness-raising. Note the reference of a “wall” to keep the ‘others’ from taking their wealth. Hades (Nickolaus Colón), King of the Underworld, is as ruthless as the early American coal and oil barons, recklessly stripping the earth of precious resources (reference the current fight for precious metals) and enslaving miners when union-busting proved deadly. Quinn’s magnificent powerhouse baritone is hauntingly evil… in a good way. Defending his unmitigated power, he sings of the need for a wall in “Why We Build the Wall” to keep the haves from the have-nots. “The enemy is poverty. We build the wall to keep us free. To keep out poverty.” Sound familiar?

Megan Colton (Eurydice) and Jose Contreras (Orpheus). (Photo/Evan Zimmerman for MurphyMade)

With his extraordinary, multiple-octave range, Jose Contreras as the guitar-strumming poet and heartthrob, Orpheus, sings of his love for the beautiful waif, Eurydice (Megan Colton), whose honeyed voice will give you goosebumps in her plaintive ballads. As poor Orpheus, who despairs of the deplorable conditions of the workers and the destruction of the Earth by power-mad Hades, promises Eurydice a boundless love.

Hadestown is a social and moral construct cleverly tucked into a brilliant musical with music, lyrics and book written by Anaïs Mitchell with all the original Broadway direction by partner Rachel Chavkin. At its heart is a tender love story (two, in fact) cleverly cached in the universal struggle for freedom from oppression and the quest for basic human rights. Be careful or you’ll miss it, wooed as you will be by the harmonizing harpies – The Fates – a stewpot of Cajun and Creole; the red-hot sexpot Persephone (Namisa Mdlalose Bizana); Hermes (Rudy Foster), the slithery, smooth, storytelling dandy. The Fates are played melodically by Miriam Navarrete, Alli Sutton and Jayna Wescoatt.

Hadestown North American Touring Company, 2025. (Photo/Evan Zimmerman for MurphyMade)

As in several modern musicals, the musicians are on stage throughout, affording us a close-up of the shiny glint and soulful wah-wahs of trombonist Haik Demirchian who racks up some mean solos; the beautiful strains of Jessie Bitner’s violin; with Lydia Paulos on cello; Nya Holmes on double bass; Sam Wade on guitar; drums and percussion by Lumanyano Mzi; haunting honky-tonk accompaniment by Cole P. Abod on upright piano; and one of the Fates on accordion, an important component in New Orleans Zydeco music. With the stunning harmonies and fierce dance component of the Workers Chorus featuring, Jonice Bernard, Ryaan Farhadi, Erin McMillen, Miracle Myles and Joe Rumi, the score is filled with minor chords adding to the heart-rending sense of longing and doom.

Directed by Keenan Tyler Oliphant; Choreography by T. Oliver Reid, based on the original Broadway choreography by David Neumann; Scenic Design by David L. Arsenault, based on the original Broadway Scenic Design by Rachel Hauck; Costume Design by Michael Krass; Lighting Design by Aja Jackson, based on the original Broadway Lighting Design by Bradley King; Co-Sound Design by Nevin Steinberg and Jessica Paz; Hair & Wig Design by Jennifer Mullins; Arrangements & Orchestrations by Michael Chorney and Todd Sickafoose; Music Direction by Cole P. Abod.

Through November 23^rd at The National Theatre, 1321 Pennsylvania Avenue, NW, Washington, DC 20004. For tickets and information visit www.BroadwayAtTheNational.com or in person at the box office.

Signature Theatre’s Fiddler on the Roof is Joyful, Fiercely Funny and Robust

Fiddler on the Roof

Signature Theatre

Jordan Wright

November 14, 2025

Special to The Zebra

Douglas Sills (Tevye) with Lily Burka (Hodel), Beatrice Owens (Tzeitel), Mia Goodman (Shprintze), Rosie Jo Neddy (Chava), and Allison Mintz (Bielke) in Fiddler on the Roof at Signature Theatre. (Photo/Daniel Rader)

As you enter the MAX theatre, you’ll note a massive wooden table which fills nearly the entire stage for this production. Small benches surround it. There are no backdrops. No actual scenery. A wooden door claims a single corner. Soon you’ll come to realize it is a clear symbol of these small-town villagers – solid and ordinary. A sturdy table for gathering becomes a metaphor for their day-to-day lives as it changes form – reconfiguring in a myriad of clever ways to adapt to each scene. The musical opens as the large family enters covering its bare wood with a large, white linen tablecloth.

Winner of nine Tony Awards, Fiddler on the Roof is a tender and uplifting musical inspired by the Yiddish stories of Sholem Aleichem who wrote them at the turn of the 20^th century. In this funny, wise and sweetly endearing folk tale set in the fictional Russian Jewish shetl Anatevka, we meet Tevye, a milkman; his homemaker wife Golde; and their five daughters; the rabbi, the ultimate authority on Jewish tradition; and Yente the Matchmaker, the Dolly Levi of arranged marriages, who has the final say on the bachelors the young women of the village will wed.

Alas, poor Tevye. Conflicted by the changing times, he faces a terrifying political climate and a cruel Czar, looming pogroms by the invading Nazis, Russian soldiers taking over the town, and the stringent religious laws laid down by the rabbi. Fiercely traditional in a paternalistic society, he struggles to rationalize his daughters’ unorthodox marital choices by speaking to God – his preferred pastime. “On the other hand, look at my daughter’s eyes,” he muses, justifying the adoration he sees for their unorthodox choices.

Lily Burka (Hodel), Rosie Jo Neddy (Chava), and Beatrice Owens (Tzeitel). (Photo/Daniel Rader)

Unfortunately, his daughters’ love interests have not been determined by Yente, the unchallenged matchmaker for the women of the village. And in his conversations with God, Tevye vacillates between keeping tradition and pleasing his beloved daughters. “Without tradition our lives would be as shaky as the fiddler on the roof,” he warns as the haunting violin strains from the fiddler test his mettle.

In “Tevye’s Dream”, a nightmare sequence featuring the ghost of Fruma-Sarah, Lazar Wolf’s late wife, he finds a way to explain his quandary to Golde by how they can get around Yente’s choice of husbands for Tzeitel’s planned wedding to Lazar, the crusty, old butcher. Fruma-Sarah wouldn’t approve, he claims. “I realize we are the chosen people,” he tells God, “…but sometimes couldn’t you choose someone else.”

You’ll revel in “If I Were a Rich Man”, “Matchmaker, Matchmaker”, “Miracle of Miracles”, the tender “Do You Love Me?” and “Sunrise, Sunset” plus thirteen more numbers – all time-tested tunes we have come to love. Just don’t sing it out loud, though it’s tempting when you know all the words.

Douglas Sills (Tevye), Jeremy Radin (Lazar Wolf), and the cast of Fiddler on the Roof. (Photo/Daniel Rader)

This endearingly embraceable story is further uplifted by the original choreography of Jerome Robbins drawn from authentic folkloric dances to include the joyful ‘bottle dance’. You’ll witness a very different Tevye from Zero Mostel’s well-known full-blown, over-the-top character. Played wonderfully here by Douglas Sills as Tevye. Evoking a more cerebral, subtler yet bolder Tevye with a wry comedic touch, his performance is a triumph.

I nearly passed on reviewing this production since I’ve seen it a dozen times or more with numerous family members in leading roles. Yet, with its intimate staging and superb direction by Joe Calarco, plus a cast seamlessly in sync, I wouldn’t have missed it for the world.

Highly recommended whether you’ve seen it once or a hundred times. Joyful, touching and robust, winner of nine Tony Awards, Fiddler is the classic that appeals to every generation.

The cast of Fiddler on the Roof. (Photo/Christopher Mueller)

Book by Joseph Stein; music by Jerry Bock and lyrics by Sheldon Harnick; musical director and conductor Jon Kalbfleisch with a 10-piece orchestra; choreographed by Sarah Parker; dramaturgs Jen Jacobs and Dani Stoller; scenic design by Misha Kachman; costume design by Ivania Stack; lighting design by Tyler Micoleau; sound design by Eric Norris; wig design by Anne Nesmith; fight choreography by Casey Kaleba.

Starring Douglas Sills as Tevye; Amie Bermowitz as Golde; Beatrice Owens as Tzeitel; Susan Rome as Yente and Grandma Tzeitel; Lily Burka as Hodel; Rosie Jo Neddy as Chava; Allison Mintz as Bielke; Mia Goodman as Shprintze; Jake Lowenthal as Motel; Ariel Neydavoud as Perchik; Jeremy Radkin as Lazar Wolf; Christopher Bloch as Rabbi; Sarah Corey as Fruma-Sarah and Shaindel; Alex Stone as Fyedka; Davis Wood as Constable; Stephen Russell Murray as Mendel as well as serving as Fight Captain; Reagan Pender as Avram as well as serving as Dance Captain; Joseph Fierberg as Mordcha.

Through January 26^th at Signature Theatre in Shirlington Village, 4200 Campbell Street, Arlington, VA. For tickets and information call the box office at 703.820.9771 or visit www.SigTheatre.org