Jordan Wright
January 9, 2020
Backed by the 25-member The Joyce Garrett Singers, a DC-based gospel choir, the iconic National Symphony Orchestra, and four back-up vocalists, Diana Ross strode onstage to the tune “I’m Coming Out”, her signature walk-on entrance. Swathed in a tangerine-hued, ruffled silk cape and molten orange floor-length gown, the magnificent pop diva claimed the night with her beauty, musicality and charm.
 Diana Ross Tossing her ebony ringlets, she enraptured a full house of fans in the Concert Hall. Shimmying and shaking to the beat and shouting out “We love you. Diana!” from their seats, fans were thrilled to hear a selection from many of her biggest hits. Twenty-two numbers formed her wide-ranging repertoire Friday night. “Your Love”, from a rare box set recorded over two decades ago, “He Lives in You”, and “Voice of the Heart”, all rarely heard in concert, were well received. More familiar songs were “You Can’t Hurry Love”, “Touch Me in the Morning”, “Ain’t No Mountain High Enough”, “Love Hangover”, “Why Do Fools Fall in Love?” (the Frankie Lyman hit), and “I Will Survive” that had the orchestra temporarily flat-footed, until she asked them to crank up the beat.
Easily segueing from pop and R&B to jazz, ballads and disco, the legendary diva offered up a few of her greatest film score hits – “Home” and “Ease on Down the Road from The Wiz; “If We Hold On Together” from A Land Before Time; “Do You Know Where You’re Going To” from Mahogany; and a personal favorite in which she shows off her silken jazz voice, “The Man I Love” from Lady Sings the Blues. A 1996 memorable performance from Super Bowl XXX brought knowing applause with “Take Me Higher”, a song that culminated in her being whisked away by helicopter.
It’s pointless to review a Diana Ross concert without mentioning her fabulous ensembles. Four glamorous gown changes showed off her svelte figure, most surprising was the final gown – a steel blue, full-skirted satin gown with exposed strapless bodice that she had once worn to a pre-inaugural concert for President Clinton.
Miss Ross spoke excitedly of her upcoming tour that takes her throughout the American South before heading to Las Vegas. This June she will appear at the UK’s famed Glastonbury Festival 2020 playing the fabled “legends” slot, before heading to Ireland and returning to England for several more dates. Miss Ross has not toured the continent in many years and said she was eager to return.
As one of the most successful singers of her generation, she enjoys a performing arts career spanning over 50 years. An award-winning singer and actress, Miss Ross is known for leading The Supremes, as well as her chart-topping solo career. She has received the Guinness World Record for her international success of having more hits than any other female artist on the charts, inductions into both the Rock and Roll Hall of Fame and the Songwriters Hall of Fame, a Kennedy Center Honor in 2007, a Grammy® Lifetime Achievement Award, and countless other accolades and awards.
Conducted by Emil De Cou.
Final Washington, DC concert date is Saturday, January 11th at 8pm at The John F. Kennedy Center for the Performing Arts, 2700 F St., NW, Washington, DC. For tickets and information call 202 467-4600 or visit www.Kennedy-Center.org.
Jordan Wright
December 21, 2019
The story of Eliza Doolittle, a street waif transformed into a high society lady by the over-achieving phoneticist, Professor Henry Higgins, has recently been adapted to reflect the #MeToo movement. Love it or leave it (I overheard a dismayed audience member kvetch about the changes), Director Bartlett Sher has fashioned Eliza into a girl from the wrong side of town yet with a street-wise sense of self. My Fair Lady, the classic musical that made its Broadway debut in 1956, at the height of Lerner and Loewe’s musical partnership, echoes George Bernard Shaw’s 1913 play Pygmalion, itself derived from Ovid’s poem, Metamorphoses, the myth of the sculptor who fell in love with a statue of a woman.
 Shavey Brown, Mark Aldrich, Shereen Ahmed (center), William MichalsandColin Anderson. Photo credit Joan Marcus As you can imagine, the challenge of passing off an uneducated flower girl with a cockney accent into a lady who could move undetected among high society, is fraught with all manner of potential social faux pas. “In six months, I could pass her off as a duchess at the Embassy Ball,” he boasts. Men are always trying to fix things. Right? Higgins’ collegial cohort, Colonel Pickering, bets him it can’t be done.
 Laird Mackintoshas Professor Henry Higginsand Shereen Ahmedas Eliza Doolittle. Photo credit Joan Marcus In this glorious redo, Eliza Doolittle’s role has been upgraded to a scrappy, independent-minded and totally liberated woman, though it takes some doing to achieve self-evolution. No matter that the premise has been modernized a bit, the music is as tuneful and glorious as you remember, and with a full orchestra filling the Opera House to the rafters, it is positively rapturous. I promise you will thrill to “The Rain in Spain”, “With a Little Bit of Luck”, “I Could Have Danced All Night”, “On the Street Where You live”, and another dozen or more tunes that are an indelible part of Broadway legend.
 Leslie Alexanderas Mrs. Higgins, Shereen Ahmedas Eliza Doolittle and Kevin Pariseauas Colonel Pickering. Photo credit Joan Marcus Spectacular costumes dazzle in the scene at the posh Royal Ascot gavotte where Eliza is first introduced to the grand dames in their lavish pastel gowns and sky-skimming feathered hats and dapper gentlemen in their top hats and morning dress. There her gaffes among the Old Guard are almost her undoing. Yet her inherent charm and comic phrasing is welcomed as refreshing, and she fools most of them. The only ones not deceived are the Hungarian poseur, Professor Zoltan Karpathy, and Higgins’s own mother who takes to the girl recognizing her true heart and her love for her son and mentor. Expect a novel twist at the denouement, as Eliza keeps us in suspense as to her future and who she will choose to share it with.
 Sam Simahkas Freddy Eynsford-Hill, Shereen Ahmedas Eliza Doolittle, Kevin Pariseauas Colonel Pickering and Leslie Alexanderas Mrs. Higgins. Photo credit Joan Marcus Highly recommended. It’s ab-so-bloomin’-lutely fantastic!
Directed by Bartlett Sher; Choreography by Christopher Gattelli; Sets by Michael Yeargan; Costumes by Catherine Zuber; Lighting by Donald Holder; and Sound by Marc Salzberg.
Starring Shereen Ahmed as Eliza Doolittle; Laird Mackintosh as Professor Henry Higgins; Kevin Pariseau as Colonel Pickering, Adam Grupper as Alfred P. Doolittle; Sam Simahk as Freddy Eynsford-Hill; Gayton Scott as Mrs. Pearce; and Leslie Alexander as Mrs. Higgins.
Through January 19, 2020 at the John F. Kennedy Center for the Performing Arts, 2700 F St., NW, Washington, DC. For tickets and information call 202 467-4600 or visit www.Kennedy-Center.org.
Jordan Wright
December 17, 2019
 (l to r) Corey Greenan, Eric Chambliss, Jon Hacker and Michael Milton – Photo: Joan Marcus In an era when Motown was delivering hit after hit and Black singing groups ruled the charts, a quartet of Italian kids from the blue-collar town of Belleville, NJ began their journey to stardom. Most of them were small-time crooks who knew a hot hustle when they saw it. Tommy, one of the original members, was street smart enough to keep the others out of the worst kind of trouble, though all of them wound up serving time in the pen. After they all got out, they re-formed, playing local dives and bowling alleys – an arduous route followed by many bands. Only a handful of these white quartets made it big. How Frankie Valli and The Four Seasons achieved the pinnacle of success and were inducted into the Rock and Roll Hall of Fame defines this Tony, Grammy and Olivier-award winning musical.
 Bob Crewe’s Apartment ~ (l to r) Michael Milton, Corey Greenan, Jon Hacker, Justin Albinder, Sean McGee and Eric Chambliss – Photo: Joan Marcus Valli’s powerhouse falsetto and the group’s sweet harmonies, set them apart from other groups, but success didn’t come easily. After years of struggle as unknown studio backup singers for big recording artists and a sleazy group member who put them over $1M in debt, the group finally found their identity when a young Joe Pesci (Yes! That Joe Pesci.) introduced them to a little-known singer/songwriter named Bob Crewe. Crewe subsequently churned out mountains of hits for the group and apart from their personal troubles managed to keep them on the road and on the charts. Of particular interest for me, was learning about Crewe, the most grounded, educated and philosophical of the band members.
Thanks to Murray the K, a popular New York City radio disc jockey, the group got airplay of their first release, “Sherry”. It went straight to the top of Billboard’s pop charts selling one million records. After that the hits, and the fans, kept coming – “Big Girls Don’t Cry”, “Walk Like a Man”, “Dawn” and dozens more.
 Snowflake Ladies ~ (l to r) Katie Goffman, Connor Lyon, Amy Wagner and Ashley Bruce – Photo: Joan Marcus The plot, though somewhat predictable and thin as a minute, is based on their fortunes and misfortunes. Think of it as the glue that supports the musical numbers. Fans will hear over two dozen of their biggest hits plus a few of their earliest song stylings. Sung by a quartet whose voices are a near perfect match to the originals, think of it as a Frankie Valli and The Four Seasons concert. The harmonies are pitch perfect.
 (l to r) Ashley Bruce, Amy Wagner and Connor Lyon – Photo: Joan Marcus Former original Broadway cast member Jon Hacker as Frankie shows off an astonishing falsetto range accompanied by slick dance moves. Expect James Brown-style splits and spins executed in retro sharkskin suits. All the band’s songs are choreographed as are those for a sexy mini-skirted girl group that accompanies the boys on tour.
A high energy concert-styled musical set in a retro 60’s music scene, it features all their greatest hits.
Highly entertaining. (Note: This show is appropriate for ages 12+ only due to strong language throughout.)
Directed by Des McAnuff; Written by Marshall Brickman and Rick Elice; Choreographed by Sergio Trujillo; Music by Bob Gaudio; Lyrics by Bob Crewe; Lighting by Howell Binkley; Costume Design by Jess Goldstein; Orchestrations by Steve Orich.
Starring Sean McGee as Bob Crewe; Michael Milton as Nick Massi; Eric Chambliss as Bob Gaudio; Corey Greenan as Tommy DeVito; Ashley Bruce as Mary Delgado/Angel. The rest of the cast all play multiple roles.
Through January 5th at the National Theatre – Pennsylvania Avenue, NW, Washington, DC. For tickets and information visit www.TheNationalDC.com or call 1.800.514-3849.
Jordan Wright
December 18, 2019
Though Peter gets top billing in Lauren Gunderson’s world premiere, make no mistake about it, her interpretation of J. M. Barrie’s classic tale elevates the female roles to star status. As the most produced playwright in America, Gunderson’s imprimatur is writing plays about accomplished women in science and the arts who have become mere footnotes in history. First performed in 1904, Barrie’s play was a product of its time, insensitive to sexism, racism and Colonialism and decidedly not politically correct. In Gunderson’s adept hands we find the same level of excitement in Peter Pan’s fantasy world, but with a greater sensitivity to the female roles, an ethnically diverse cast, and a greater awareness in portraying indigenously correct characters.
 Sinclair Daniel as Wendy, Chauncey Chestnut as Michael, Derek Smith as Mr. Darling. Bailey as Nana, Christopher Flaim as John, and Jenni Barber as Mrs. Darling Photo credit Teresa Castracane. Here Wendy, Tinkerbell and Tiger Lily have been reframed to reflect stronger female identities. Wendy, inspired by Marie Curie’s recent notoriety, pooh-poohs her father’s suggestion that she attend a posh finishing school, instead pleading for a science academy where she can pursue her love of the stars and mathematics. Oh, yes! Our Wendy is still a compassionate girl and protector of brothers Michael and John, but she’s now portrayed as a serious-minded student of cosmology. Tinkerbell becomes a Valley Girl-voiced fireball, glammed to the max, and more in sync with the women of Wakanda. “I’d probably go less Colonial genocide,” she warns Hook. And Tiger Lily, performed by a member of the Dakota Nation, who becomes a heroine defending the peace and sanctity of her native lands. “I’m here to avenge my people,” she tells Peter who, before he gets woke, comes off as a self-centered, anti-hero eager to fight his nemesis on a daily basis.
 Sinclair Daniel as Wendy and Justin Mark as Peter Pan. Photo credit Teresa Castracane. Gunderson’s Peter Pan and Wendy is a fantasy-filled production directed by the legendary Alan Paul with costumes by Loren Shaw, and Scenic Design by Jason Sherwood. A perfect antidote to our times, it’s a technical marvel with a backstage crew of 66 designers, from animal trainers and animators to musicians and backstage crew. Together they keep on Tinkerbell’s lights in flight and five of the actors (out of a cast of 19 plus one adorable live dog) soaring high above the stage. I couldn’t keep track of how many pulse-quickening, pirate fights there were, nor the audience’s uncontrolled laughter watching the scenes between the vainglorious Captain Hook, his first mate the sycophantic Smee, and their batty crew of bungling pirates. My only critique is that I wanted to see more of the dazzling mermaid floating on clouds of bubbles.
 Tendo Nsubuga and Darren Alford as Twins, Joriah Kwame as Slightly, Francisco Gonzalez as Tootles, and Ronen Lewis as Curly. Photo credit Scott Suchman. So, look to the starry skies to find Neverland, the Lost Boys, and Peter assisted by a very large tick-tocking crocodile and buttressed by girl power – Wendy, as strategic governor, Tinkerbelle, as a fierce defender, and Tiger Lily, as mediator. And always remember who the land belongs to. “My people will always be here,” Tiger Lily reminds us.
 Jenni Barber as Tinkerbell. Photo credit Scott Suchman. Highly recommended.
Starring Derek Smith as John Darling/Captain Hook; Justin Mark as Peter Pan; Sinclair Daniel as Wendy; Jenni Barber or Megan Huynh as Mrs. Darling/Tinkerbell; Isabella Star LaBlanc as Tiger Lily; Tom Story as Smee; Christopher Flaim as John Darling; Chauncey Chestnut as Michael Darling; Bailey as Nana the dog. With Francisco González as Tootles; Ronen Lewis as Curly; Joriah Kwame as Slightly; Darren Alford as Twin; Tendo Nsubuga as Twin; Michael Glenn as Jukes, Calvin McCullough as Noodler; and Gregory Wooddell as Starkey.
Composer Jenny Giering; Lighting Design by Isabella Byrd; Sound Design by John Gromada; Projection Design by Jared Mezzocchi; Puppet Design by James Ortiz; Flying Scenes choreographed by Paul Rubin; Choreographer Katie Spellman; Speical Effects by Jeremy Chernick.
Through January 12, 2020 from the Shakespeare Theatre Company at the Sidney Harmon Hall in the Michael R. Klein Theatre at 610 F Street, NW, Washington, DC 20004. For tickets and information visit www.ShakespeareTheatre.org or call the box office at 202.547.1122.
Jordan Wright
December 12, 2019
Jonathan Spector’s comedy about a private, liberal grade school in Berkeley, California brings tons of laughs when its politically correct committee of five educators is faced with an outbreak of the mumps. Among the school’s decision-makers are Meiko, a shy Asian woman in an affair with Eli who is also married; Eli, the eternal organizer, “I think this might be a good moment for a community-activated discussion.”; Carina, an African American mom new to the committee and unafraid to speak out; Suzanne, the deeply passive-aggressive head of the committee, “We have a lot of neuro-diversity here.”; and Don, a Birkenstock-sporting, flow-chart specialist subservient to Suzanne, “I am only here to facilitate,” he defers. As a group, they are a hot mess – more concerned with heritage designations on enrollment forms and gender-optional pronouns.
 Eureka Day Ensemble – Photo credit Christopher Banks Needing universal consensus to institute an action plan, they vote to Skype in the parents. But all hell breaks loose when the parents’ divergent views devolve into a virtual live Tweet, scream-fest and medical facts become as disposable as eco-friendly bamboo plates. Yes, there’s a discussion about that too, when clueless Carina serves snacks on plastic plates.
 Eureka Day Ensemble – Photo Credit Christopher Banks The hot-button issue between those who believe in vaccinating their kids and the anti-vaxxers is utterly hilarious as the video-projected, live feed convos become a caustic maelstrom of name-calling, Pharma-blaming, climate change tirades, Creationism battles, and religious disagreements. No, wait. “Disagreement” is too soft a word to describe how the parents go into full-on, personal attack mode. Sound familiar? All too familiar in this issue-charged political climate. Played for laughs we can watch the turmoil from a safe distance while acknowledging how polarizing these issues have become. Artistic Director, Ari Roth, defines it as, “Progressives Behaving Badly.”
 Eureka Day Ensemble – Photo Credit Christopher Banks Not too long ago this was in the news when it was left to a court to decide. Should you protect children who are already vaccinated from attending school with those whose parents decide not to vaccinate? Do you place a quarantine on the school? For how long, and who decides? In this clever comedy, and as in real life, some don’t survive these irresponsible decisions.
Andrew Cohen’s set design is purposely innocent – a brightly-lit, colorful classroom lined bookshelves and children’s art – a perfectly neutral spot for adult mayhem especially in the hands of this wildly expressive ensemble.
 Eleanor Holmes Norton – Photo credit Christopher Banks On the night I saw it Eleanor Holmes Norton played a cameo role. More local notables are on schedule to appear during the run. Check the schedule.
Highly recommended. As soon as I left the theatre, I wanted to see it again.
Directed by Serge Seiden with Lighting Design by Brittany Shemuga; Original Projections by Teddy Hulsker; and Projections by Dylan Uremovich. Originally commissioned and produced by Aurora Theatre Company, Berkeley, CA.
With Regina Aquino as Meiko; Lise Bruneau as Suzanne; Erica Chamblee as Carina; Sam Lunay as Don; Elan Zafir as Eli; and Mar Cox/Thomas Nagata as Winter.
Through January 5th at The Atlas Center for the Performing Arts – 1333 H Street, NE, Washington, DC 20002. For tickets and information call 202 399-7993 ext. 2 or visit www.MosaicTheater.org.
Jordan Wright
December 13, 2019
Come From Away is the heartwarming true story of the residents of Gander, Newfoundland who took in over 7,000 passengers when their flights were diverted during 9/11. It is not a maudlin retelling of that terrifying moment in time when all U. S. airspace shut down. Nor is it an historical or political exposé, but it is a testament to how extraordinarily kind and generous these small-town residents were when faced with a disaster of epic proportions.
 The North American Tour of Come From Away Photo Credit Matthew Murphy It’s a normal workday when news comes in that 38 international aircraft have been diverted to their local airport. The bus drivers are on strike. The local news reporter is on her first day on the job. The mayor is under siege and the SPCA lady is running late to the animal shelter. Passengers on the aircraft have no idea why they are not headed to their destinations. Forced to remain in their crowded planes on the tarmac for 28 hours with zip to do, they get rip-roaring drunk. Who wouldn’t?
 The North American Tour of Come From Away Photo Credit Matthew Murphy Based on a true story, the musical parallels the strained emotions of the stranded passengers with the herculean efforts of the townspeople who struggled to provide food and supplies for adults, kids, babies, dogs, cats and a pair of bonobo chimpanzees. Everything about this sweet, sweet, musical reaffirms one’s belief in the kindness and generosity of strangers in the face of adversity. Remember how everyone pulled together in New York during that terrifying time? Well, it feels just like that, only with a great deal of situational humor as the passengers settle into town life, struggle to adjust, and hit the local bars.
 The North American Tour of Come From Away Photo Credit Matthew Murphy Of particular charm are the townspeople’s Irish accents and Irish music, a result of the region’s Celtics roots. Add to that the passengers’ diversity of ethnicities, religions, and predilections, to form an ad hoc United Nations. Yet there is still fear amongst some of the passengers. A gay couple worries they will be scorned. A Muslim has to hide his prayer time. A mixed-race couple is unsure if it’s realistic to fall in love under such superficial circumstances.
The staging is a brilliant achievement of complex choreography as the actors assume many roles and the simple sets toggle between scenes on the planes, the local watering hole, the SPCA and the mayor’s office.
 The First North American Tour Company of COME FROM AWAY, Photo by Matthew Murphy, Uplifting and exuberant with a gorgeous score and phenomenal singing to boot. I loved every minute of it!
Book, Music and Lyrics by Irene Sankoff and David Hein. Directed by Christopher Ashley with Lighting Design by Howell Binkley; Costumes by Toni-Leslie James; Scenic Design by Beowolf Boritt; Sound Design by Gareth Owen; Orchestrations by August Eriksmoen; and Arrangements by Ian Eisendrath.
Featuring Sharone Sayegh as Bonnie; Harter Clingman as Oz and others; Marika Aubrey as Beverly/Annette and others; Julia Knitel as Janice and others; James Earl Jones II as Bob and others; Kevin Carolan as Claude and others; Chamblee Ferguson as Nick/Doug and others; Nick Duckart as Kevin J./Ali and others; Danielle K. Thomas as Hannah and others; Julie Johnson as Beulah and others; and Christine Toy Johnson as Diane and others.
Through January 5th at the John F. Kennedy Center for the Performing Arts, 2700 F St., NW, Washington, DC. For tickets and information call 202 467-4600 or visit www.Kennedy-Center.org.
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