Stephen Sondheim’s Musical “Merrily We Roll Along” is a Hit at Signature Theatre
Merrily We Roll Along
Signature Theatre
September 6, 2026
 Jason Gotay (Franklin Shepard), Melanie Field (Mary Flynn), and Jake Loewenthal (Charley Kringas) in Merrily We Roll Along at Signature Theatre (Photo/Christopher Mueller).
Deliciously witty, snarky and cleverly tuneful, Sondheim’s musical lures us into a world of backstage and backstabbing – where composers, lyricists, producers, actors and their pals play a glamorous, throat-cutting game of oneupmanship fueled by booze and the sweet smell of success. Who’s in and who’s out? Who to adore and who to ignore? In the world of show biz, the “movers and shapers” crave fame and fortune or, at the very least, to share in the celebrity’s spotlight.
In Merrily We Roll Along the plot toggles between 1959 to 1973 – and not in chronological order. For instance, it’s not until the second act that we learn how Mary, Franklin and Charley began their friendship one starry night on a shared rooftop in New York City searching the sky for the Russian satellite Sputnik.
To set the stage, Franklin Shepard is a matinee-idol-handsome, young Broadway composer. His sidekick Charley writes the lyrics and magazine writer slash theatre critic and neighbor Mary, is their BFF. Mary is madly in love with Frank, yet keeps it on the QT, because Frank is soon to be married to and divorced from sweet, adorable Beth and hard-on-the-bottle Mary is not in his league as a love interest. However, Mary is the glue that keeps everything and everyone merrily rolling along.
 James Whalen (Joe Josephson), Kerstin Anderson (Beth Spencer), Jason Gotay (Franklin Shepard), Melanie Field (Mary Flynn), and Jake Loewenthal (Charley Kringas) (Photo/Daniel Rader).
Despite the vagaries of a friendship regularly sealed by pinky promises, Frank, Charley and Mary continue to navigate their fights and betrayals. Frank becomes a wildly successful film producer with a wealth of glamorous friends Charley raises a family, while Mary’s desire to remain in Frank’s orbit keeps his fawning fans in check – including Gussie, his seductive leading lady.
Co-written by composer and lyricist Stephen Sondheim with book by George Furth, Merrily We Roll Along is based on a 1934 play by Moss Hart and George S. Kaufman. Directed in 1981 by Hal Prince, it had a very short run but a relevant theme about the perils and pitfalls of success. Recently revived on Broadway to huge acclaim, it garnered a stack of Tony Awards. I say this to let you know that this is not a national touring company. It is directed and choreographed by Signature Theatre’s Artistic Director Matthew Gardiner whose work I greatly admire. I’m only to see him named in press releases as ‘Director’ that I will be first in line to see whatever he has put his hand to.
From page to stage this production is dripping with glitz and glam featuring a shiny, tight cast who fling the show into star-studded orbit with a wealth of brilliant production creatives who nail every opportunity to elevate the visuals, the choreography and the music. And speaking of the music, it is rich and layered, funny and passionate, tender and torpid. Twenty-six glorious numbers backed by award-winning conductor Jon Kalbfleisch’s terrific 12-piece orchestra.
 Maria Rizzo (Gussie Carnegie) and the cast of Merrily We Roll Along (Photo/Christopher Mueller),
Did I love this? Hell, yes! Consider buying two tickets per person – one for a later date. Because, as soon as you see it, you’ll want to see it again.
Starring Jason Gotay as Franklin; Jake Loewenthal as Charley; Melanie Field as Mary Flynn; Maria Rizzo as Gussie Carnegie; James Whelan as Joe Josephson and Kerstin Anderson as Beth Shepard. With Neal Gaensehals as Frank Jr., Joel Ashur as Jerome; Ben Beckley as Terry/Mr. Spencer; Lindsay Nicole Chambers as Scotty/Mrs. Spencer; Alonda Trinidad-Colon as Meg Kincaid/Make-up Artist; Eric Easter as Ru/Minister; Jonah Ho’okano as Tyler; Stephen Russell Murray as Bunker/Newscaster/Photographer; and Sarah Anne Sillers as KT.
Orchestrations by Jonathan Tunick; Scenic Design Wilson Chen; Costume Design Ivania Stack; Lighting Design by Cory Pattak; Sound Design by Eric Norris; Hair & Wig Design by Anne Nesmith; Fight Choreography by Casey Kaleba.
 Jason Gotay (Franklin Shepard) and the cast of Merrily We Roll Along (Photo/Christopher Mueller).
Through November 1st at Signature Theatre in Shirlington Village, 4200 Campbell Avenue, Arlington, VA. For tickets and information call the box office at 703.820.9771 or visit www.SigTheatre.org.
Signature Theatre’s Pippin Brings Medieval Swagger with Sassy Steampunk, Magical Illusions and Steamy Burlesque
Pippin
Signature Theatre
Jordan Wright
June 22, 2026
 Cedric Neal (Leading Player) and the cast of Pippin at Signature Theatre (Photo/Daniel Rader).
Oh, Pippin, you adorable, self-entitled, properly Paduan University-educated idealist! What a wild, oft catastrophic, medieval adventure you take us on!
Prince Pippin has friends, but mostly he takes his cues from “Leading Player”, a character so entirely magical, and yet insistently believable, in a most demanding way. Where the odd couple goes, we go, in company with a fantastical and hyper-sexual coterie of “Players”, as they’re referred to in the cast list. The Players will steal your heart, but they are not to be trusted. They are unpredictable spirits, though they ultimately kowtow to Leading Player and will trot off with their tails between their legs when chastised.
Pippin has arrived home after his studies to greet his father, the autocratic King Charlemagne aka Charles, his voluptuous mother Queen Fastrada, and his super macho, entirely witless half-brother Lewis who prefers to slay the Visigoths with the encouragement of his beloved mother.
 Brayden Bambino (Pippin), Hank von Kolnitz (Player), Calvin L’mont Cooper (Player), and Ben Bogen (Player) (Photo/Daniel Rader).
“I’m going to live a life that’s extraordinary… and completely fulfilling,” Pippin announces ingenuously with the song, “Corner of the Sky”, one of composer and lyricist Stephen Schwartz’s most memorable and frequently covered songs. Determined to find his niche without his overbearing father, he murders him, (which thankfully for the character and the audience is only temporary as the king is later resurrected) and takes over the country, vowing to end all wars, tax the rich and gift land to the serfs. Very noble, you’d say. But the aristocracy revolts, countries invade, sack and pillage and our sweet, disillusioned Pippin realizes he’s not cut out for such things as ruling the country. And after a brief stint as a soldier, involving slaughter and mayhem and a disembodied talking head, off he scurries off to the countryside where amid pastoral joys he meets a fair maiden, Catherine, her little boy, Theo, and finds his free-wheeling grandmother, Berthe, whose sage advice comes via the song “No Time At All”.
There Pippin is introduced to an orgiastic lifestyle by Berthe and the Players. The musical Hair popped into my head, though that was far tamer than this hyper-erotic approach to free love as portrayed by the Players cavorting in every imaginable coupling. Pippin, ever the seeker, tries all the combinations and is left bereft. “It wasn’t fulfilling,” he declares.
I have to say, in the end, I was left disappointed by Pippin in his campaign to find himself. He caved far too quickly when he was king, conceded too readily to his scheming mother and took the easy way out by killing off his challengers.
 Naomi Jacobson (Berthe) and Brayden Bambino (Pippin) with the cast of Pippin (Daniel Rader).
What you will take away is a razzle-dazzle, helluva show with 14 wonderful musical numbers, terrific performances by all, powerhouse voices backed by a 12-piece orchestra, stage magic, comic highs, burlesque, and quirky characters who absolutely slay costumed in Victorian Steampunk lace and leather living la vida loca and dancing their tailfeathers off on a glassy circular stage… in France! Did I mention the duck? Holy wow!!!
Go! Have fun!!!
With Cedric Neal as Leading Player; Brayden Bambino as Pippin, Eric Hissom as Charles (King Charlemagne); Maria Rizzo as Fastrada; Ryan Sellers as Lewis; Naomi Jacobson as Berthe; Awa Sal Secka as Catherine; and Ellison Bihm as Theo.
The Players: Ben Bogen, Calvin L’mont Cooper, Candice Hatakeyama, Georgia Monroe (Dance Captain), Alanna Sibrián, Jacob Taylor Starks, Emily Steinhardt and Hank von Kulnitz.
Book by Roger O. Hirson; Music and Lyrics by Stephen Schwartz; Originally Directed and Choreographed on Broadway by Bob Fosse; Directed by Matthew Gardiner; Choreographed by Rachel Leigh Dolan; Music Direction by Jon Kalbfleisch; Scenic Design by Christopher & Justin Swader; Costume Design by Eric Teague; Lighting Design by Adam Honoré; Wig Design by Anne Nesmith; Sound Design by Eric Norris; Fight Choreography by Casey Kaleba; Intimacy Choreography by Chelsea Pace; Illusions Consultant and Fight Captain Ryan Sellers.
Through July 26th at Signature Theatre, Shirlington Village, 4200 Campbell Avenue, Arlington, VA. For tickets and information call the box office at 703.820.9771 or visit www.SigTheatre.org.
Safety Not Guaranteed at Signature Theatre is the
Wild Ride Rock Musical We All Need Right Now
Safety Not Guaranteed
Signature Theatre
Jordan Wright
March 21, 2026
 Gunnar Manchester (Kenneth) and Mia Pak (Darius) in Safety Not Guaranteed at Signature Theatre. (Photo/Daniel Rader)
Intrigued by a classified ISO ad in the local Ocean View Examiner that reads, “Someone to go back in time with me. Must bring your own weapons. SAFETY NOT GUARANTEED.”, a group of young interns from a California-based marketing company hunt down the writer. Bored with their dead-end jobs creating clickbait on strict orders from Jeff the manager, the group’s aspiring journalist Darius follows clues to unmask the writer and solve the mystery.
Based on the movie by the same name, the musical follows a madcap, ill-planned odyssey into the ad writer’s bizarre query. That’s the premise. The thrill is the blind faith adventure and the oddball characters who buy into it. It’s not hard to imagine what could very quickly go very wrong.
 Tyler Dobies (Arnau), Mia Pak (Darius), and Preston Truman Boyd (Jeff). (Photo/Christopher Mueller)
Set to a fantastic score and backed by a kickass band, our heroine Darius, who knows a good story when she sees it, and her newly revealed ad writing guide, Kenneth Calloway, a grocery store stock boy and hipster intellectual, lead us on one of the strangest odysseys ever set to an indie-rock music score. Think rock operas like “Tommy” and “Hair” coupled with the fantasy-driven, dark comedies, “Ride the Cyclone” and “Freaky Friday” the musical. The Mission: Go back in time and alter a disastrous moment in their youth to have a happy ending. Wouldn’t we all?
When a particle accelerator, a time machine, a Moog synthesizer, a laser and a suspected bomb feature into a love story, you know you’re on a wild ride. I loved every aspect of this musical – clever lyrics, catchy tunes (16 numbers played by a 5-piece onstage band), a terrific cast, quirky characters, unique story lines, eye-popping set design, dynamic lighting effects, rock concert sound and superb staging all rolled into one crazy fun musical.
 Mia Pak (Darius) and Gunnar Manchester (Kenneth) with Preston Truman Boyd (Jeff), Erin Weaver (Liz/Others), Tyler Dobies (Arnau), and Joshua Morgan (Tristan/Others). (Photo/Daniel Rader)
With Preston Truman Boyd as Jeff; Mia Pak as Darius; Gunnar Manchester as Kenneth; Tyler Dobies as Arnau; Joshua Morgan as Tristan & others; Erin Weaver as Liz and others.
Directed by Oliver Butler with Music & Lyrics by Ryan Miller; Book by Nick Blaemire; Based on the motion picture written by Derek Connolly; Scenic Design by Arnulfo Maldonado; Costume Design by Shahrzad Mazaheri; Lighting Design by Jason Lyons; Sound Design by Eric Norris; Music Direction by Jeff Tanski; Music Supervision, Orchestrations & Arrangements by Bill Sherman; Choreographed by Lisa Fagan.
Highly recommended. Go! And take everyone you know!
Through April 12th at Signature Theatre in Shirlington Village, 4200 Campbell Avenue, Arlington, VA 22206. For tickets and information call the box office at 703.820.9771 or visit www.SigTheatre.org.
Signature Theatre’s Fiddler on the Roof is Joyful, Fiercely Funny and Robust
Fiddler on the Roof
Signature Theatre
Jordan Wright
November 14, 2025
 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 20th 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 26th 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
They Swipe Right in Strategic Love Play at Signature Theatre
Strategic Love Play
Signature Theatre
Jordan Wright
October 4, 2025
 Bligh Voth (Woman) and Danny Gavigan (Man) in Strategic Love Play at Signature Theatre. (Photo/Christopher Mueller)
Never having uploaded a dating app, you could say I was a fish out of water. However, I’ve seen enough movies – Looking for Mr. Goodbar from the ‘70’s, the recent documentary The Tinder Swindler, as well as plenty of TV dramas and romcoms on the topic – to puzzle out how it works. Looking for love online is becoming less popular with Gen Z, who feel swiping right is transactional. But, hey, it’s still a thing.
In playwright Miriam Battye’s scathingly humorous two-hander Jenny and Adam meet at a bar after finding each other online. We never learn what their common interests are for them to swipe right and that leaves us at a bit of a disadvantage. From the get-go Jenny gives Adam the third degree, psyching him out with intrusive questions about his life. Is it a test to see if he can put up with her? Is that where the title word “Strategic” applies? And does the word “Play” in the title refer to the fact that it’s a play or that they are just playing at love?
 Danny Gavigan (Man) and Bligh Voth (Woman). (Photo/Christopher Mueller)
She’s crass, profane, insulting and hyper-aggressive. He apologizes, a lot. But, for what? After one too many verbal punches from Jenny, he asks her, “Do I have to stay?” then tells her, “You’re just a narcissist, who’s not hot.” Wow, cringeworthy! Jenny is nonplussed. She continues her onslaught. He tells her he just wants a relaxing evening, but Jenny remains on the attack. “I wanna tear someone apart!” she admits. He wonders, “This isn’t for like a podcast,” he asks.
Notwithstanding the inquisition, Adam stays, and we’re left to wonder why. People are flawed. We get it. He’s submissive, she’s aggressive. Clearly, she’s crossed the line of any civilized convo. It’s no big surprise when we learn that Jenny is utterly insecure behind her feisty façade. So, what’s happening here? She’s confesses she’s angry that no man has ever “chosen” her.
 Danny Gavigan (Man) and Bligh Voth (Woman). (Photo/Christopher Mueller)
When they finally get down discussing their relationship expectations, she insists he be honest with her. You have to wonder why, during a first date, anyone would bare their souls on command to a contentious stranger. So, are they a match? Do opposites attract? I won’t reveal the ending (he’s not a serial killer) but if you took Psych 1 or follow Dr. Phil, you can probably guess.
Directed by Matthew Gardiner and starring two very fine actors, Danny Gavigan and Bligh Voth, this story is for those who have been down the rabbit hole of online dating.
Scenic Design by Paige Hathaway; Costume Design by Kathleen Geldard; Lighting Design by Andrew Cissna; Sound Design by Kenny Neal.
Through November 9th at Signature Theatre, in Shirlington Village, 4200 Campbell Avenue, Arlington, VA. For tickets and information call the box office at 703.820.9771 or visit www.SigTheatre.org.
Duke Ellington’s Cool Blues, Hot Jazz, Snappy Ragtime and Hip-Popping Swing Set to Shakespeare’s Rom-Com, Twelfth Night at Signature Theatre
Play On!
Signature Theatre
Jordan Wright
August 25, 2025
Special to The Zebra
 Greg Watkins (Duke), Jalisa Williams (Vy), and the cast of Play On at Signature Theatre. (Photo/Daniel Rader)
Where can you find Duke Ellington’s cool blues, hot jazz, snappy ragtime, and hip-popping swing set to Shakespeare’s romcom, Twelfth Night? At Signature Theatre in the musical Play On!. The exclamation point is in the title and it’s there for a reason, because you if you don’t feel like leaping out of your seat to the sounds of tip-top tap dancing and mile-a-minute jitterbug, then you don’t have blood in your veins. Take in the vast double-tiered Art Deco set from stage level at one of the intimate cabaret-style tables or swoon to the tunes from above and prepare to be transported to the 1920’s at Harlem’s famed Cotton Club, where the Duke made his bones and Cupid found his mark.
A bit of history – “The Duke”, as you may recall, was and is a Washington institution. He even had a band he named “The Washingtonians”. A native son, he cut his teeth here writing hits and playing around town, creating his own big band sound which he called “American Music”, a singularly apt nomenclature for the elegant blend of South and North sounds from Black America. Today his legacy lives on at the DC’s Duke Ellington School of the Arts that is still turning out the nation’s top talent.
 Greg Watkins (Duke) Jalisa Williams (Vy) and the cast of Play On. (Photo/Daniel Rader)
The show features twenty-two of Ellington’s compositions dovetailing jubilation, longing, love lost and lusty shenanigans. It’s a brilliant interpretation conceived by the great Sheldon Epps (with book by Cheryl L. West) who with Artistic Director Matthew Gardiner, chose the show’s award-winning director Lili-Anne Brown along with casting director, Charlotte La Nasa, who hired all the best talent to form this wowza cast of hoofers, actors and singers. Take the time to look up the stellar body of work these pros bring to the stage.
The story tells of star-crossed lovers, mistaken identity, gender discrimination, jealousy and mad, passionate, unrequited love, which if you remember your Shakespeare, turns out as fine as frog’s hair split four ways.
When Vy, up from Mississippi toting a suitcase filled with her compositions, finds her Uncle Cootie aka the Jester, at the Cotton Club, he convinces her to pass as a man if she wants The Duke to hear her music, because back then women couldn’t be composers. She becomes Vy “Man”, dons a pin-striped suit and fedora, convincing everyone she’s a he. It’s her music that lifts Duke out of his funk and away from his obsession with the divine Lady Liv, “Harlem’s Queen of the Blues”.
 Jalisa Williams (Vy) and Awa Sal Secka (Lady Liv). (Photo/Christopher Mueller)
“It Don’t Mean a Thing” (if you ain’t got that swing) sung by Jester, Miss Mary and Sweets who try to convince Rev, the club’s manager, to loosen up and dress sharp if he wants to make it with the ladies, especially full-on diva Lady Liv whom he pines for. Miss Mary is Lady Liv’s hot-tempered, outspoken backstage dresser who gets caught up in the whirlwind of unrequited love. Her man is Sweets, a role that sneaks up on you in the hot number, “Rocks in My Bed”, a duet with Jester to include the full ensemble who burn up the stage.
The audience easily recognizes classics like “I Ain’t Got Nothing But the Blues”, “Don’t Get Around Much Anymore”, “Take the A Train”, “Hit Me with a Hot Note and Watch Me Bounce”, “In My Solitude”, “Mood Indigo” and so many more. Twenty-two classic numbers bring the house down showcasing this cast’s remarkable talents.
 Wesley J.-Barnes (Jester) and the cast of Play On. (Photo/Daniel Rader)
The all-Black cast stars Jalisa Williams as Vy; the inimitable Greg Watkins as Duke; Wesley J. Barnes as Jester; Awa Sal Secka as Lady Liv; Kanysha Williams as Miss Mary; Chuckie Benson as Rev; Derrick D. Truby Jr. as Sweets; Alana S. Thomas as CC; with Bryan Archibald, Montel B. Butler, Clara Hargrove, Divine Iweha, Vaughan Ryan Midder, Kalen Robinson and Sean Walton in the ensemble.
Music directed by Jermaine Hill and brilliantly choreographed by Breon Arzell.
This show has it all! Highly recommended!
In the MAX theatre at Signature Theatre through October 5th at Shirlington Village, 4200 Campbell Avenue, Arlington, VA. For tickets and information call the box office at 703.820.9771 or visit www.SigTheatre.org
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