Kinky Boots Pulls Out All the Stops at
The Little Theatre of Alexandria
Kinky Boots
The Little Theatre of Alexandria
Jordan Wright
July 29, 2025
 Cast of Kinky Boots at The Little Theatre of Alexandria. (Photo/Matt Liptak)
In this warm-hearted story of tolerance, love and self-acceptance, Lola (Clayton Alex James), is a Black drag performer. Together with her chorus line of queens dubbed ‘The Angels’ they perform in a drag club on the seamier side of London. When, in a stroke of fate, she meets Charlie (Matthew Rubin), the reluctant scion of Price & Sons, a fourth-generation shoe factory in the hinterlands of England. Lola schools him in ‘dragdom’ and what it means to be absolutely fabulous in six-inch high-heeled boots. When Lola tells Charlie the challenge of strutting her stuff in ladies’ boots, ill-designed to support the weight of a man, Charlie becomes sympathetic to her plight and seizes on the idea of making flashy boots with 6-inch heels.
Intrigued by Lola, soubriquet “Kinky”, and the idea of making boots for a new niche market, he offers her the job of Head Designer at his factory. Unfortunately, the factory is run by a crew of narrow-minded blue-collar workers. Lola, bullied by the male workers tries to fit in by wearing suits to work instead of her sexy outfits – a transition that falls flat. Hoping to present Lola’s racy designs at the pinnacle of shoe shows in Milan, the female workers, who are enamored of Lola’s sassiness and feminine chutzpah, get on board. Macho man Don (Dino Vergura) the floor manager and George (Michael Blinde) the firm’s accountant are reluctant to veer from their standard men’s shoe line. And therein lies the conundrum.
 Keenan Parker (Lauren), Carla Wheaden (Pat), Maia Potok-Holmes (Ensemble), David Reph, (Ensemble), Clayton Alex James (Lola), Matthew Rubin (Charlie), Cara Stankewick (Ensemble), Maria Ciarrocchi (Trish), Karen Toth (Ensemble), Cooper Sved (Harry/Ensemble). (Photo/Matt Liptak)
James is fierce and fabulous with a leggy Amazonian frame that complements his versatile voice, especially in the solo “Hold Me in Your Heart”, a show-stopping performance tinged with raw emotion. His duet with Kaplan in “Not My Father’s Son” is especially tender. And should you ever question what drives men wild, Lola (aka Simon) sets us straight in “Sex Is in the Heel”, adding, “Red is for sex, and sex shouldn’t be comfy.” Throw in a slew of sexy gams and plenty of flashy dancing and you’ve got a winner.
Contrary to what you may imagine, the romance in Playwright Harvey Fierstein’s six-time Tony Award winning musical is not between Charlie and Lola, but with Charlie’s fiancée, Nicola (Sophie Page), who has grander ideas for their future turning the factory into condominiums and one of his employees Lauren (Keenan Parker) who believes in his dreams. Guess who wins out.
Through it all, pop diva Cyndi Lauper’s show-your-true-colors, 16-number score is as sustaining as a hummingbird’s heartbeat and her emotionally stirring ballads and electrifying show tunes add up to a night of crazy, hilarious theatre. Fun for all, especially, according to Lola for, “Ladies and Gentlemen, and those who have yet to make up their minds.”
 Cast of Kinky Boots. (Photo/Matt Liptak)
Music and Lyrics by Cyndi Lauper; Book by Harvey Fierstein; Orchestrations and additional arrangements by Stephen Oremus; Written by Geoff Deane and Tim Firth; Directed by Kevin Stockwell; Choreography by Michael Page; Costume Design by Jean Schlichting and Kit Sibley; Scenic Design by Julie Fischer; Lighting Design by JK Lighting (Jeff Auerbach and Kimberly Crago); Music Director and Conductor, Aimee Faulkner with a 10-piece orchestra; Dance Captain, Maia Potok-Holmes; Sound Design by Alan Wray; Hair and Makeup Design by Jennifer Finn.
With The Angels – Marc Barbet, David Maeng, Danny Seal and Tyler Ward; Maria Ciarrocchi as Trish; Josh Katz as Simon, Sr./Ensemble; Zuri Luis as Young Simon/Young Lola; Brian Lyons-Burke as Price, Sr./Homeless Man; Maia Potok-Holmes as Milan Stage Manager/Ensemble/Featured Dancer/Dance Captain; David Reph Ensemble; Cara Stankewick Ensemble/Featured Dancer; Cooper Sved as Harry/Ensemble; Karen Toth Ensemble/Featured Dancer; Carla Wheaden as Pat.
Through August 16th at The Little Theatre of Alexandria, 600 Wolfe Street, Alexandria, VA 22314. For tickets and information call the box office at 703.683.0496 or visit www.TheLittleTheatre.com.
A Rollicking Brit Sendup Delivers in Spades with The Play That Goes Wrong at The Little Theatre of Alexandria
The Play That Goes Wrong
The Little Theatre of Alexandria
Jordan Wright
June 9, 2025
Special to The Zebra
 Sydné Marie Chesson (Annie), Justin Beland (Robert Grove), Jermaine Mitchel (Trevor Watson), Andy Izquierdo (Jonathan Harris), and Suzy Alden (Sandra Wilkinson) in The Play That Goes Wrong at The Little Theatre of Alexandria. (Photo/Bob Aronstam) Take a deep breath or two, then prepare to fall down laughing. Oh, righto, dear reader, thankfully you’re already well seated. From start to rollicking finish this hilarious play-within-a-play on steroids never misses a comedic beat as this splendid twelve-member cast proves that anything that can go wrong, will… spectacularly. You’ll recall the old chestnut of Murphy’s Law, well, its tidy aphorism is cheekily born out here. Someone must have said the forbidden word, “Macbeth” backstage, because the Cornley Drama Society proceeds to offer up a shining example of the ineptest group of actors to ever tread the boards.
In trying to stage “The Murder at Haversham Manor”, this cockeyed amateur troupe shows that the play’s the thing – until it isn’t. Pratfalls, mishaps, blown cues and botched exits abound, dead bodies won’t stay dead and malapropisms are the order of the day, all done with a straight face and a stiff upper lip. That we, the audience, are in on the farcical nonsense, is the clever conceit.
 Adam R. Adkins (Inspector Carter) (Photo/Bob Aronstam)
It is the night of the engagement party of Florence Colleymore (Suzy Alden) to Charles Haversham (Andy Izquierdo) who has been found murdered. When Inspector Carter (Adam R. Adkins) arrives at the manor to interrogate the estate’s fashionable guests, he doesn’t know whether to point the finger at Florence the seductress; her supercilious brother Thomas (Justin Beland); Charles’ cuckolding brother Cecil (Cameron McBride); Perkins the bumbling Butler (William Wheat); or Arthur the absent gardener (Cameron McBride) But it hardly matters in this whodunnit. With all the mayhem and mischief, everyone is under the microscope.
The only ones who remain relatively unscathed from accusation in this twisted mystery are Trevor Watson (Jermaine Mitchell), the Lighting and Sound Operator and Duran Duran fanboy, whose miscues and mishaps add to the cast’s confusion, and the Stage Manager (Sydné Marie Chesson) who tickles the audience when both of them wind up on stage to fill in for cast members who have been knocked unconscious by falling portraits or hidden behind secret revolving doors and the fourth wall is irretrievably open for business.
 Cameron McBride (Cecil) and Justin Beland (Thomas) (Photo/Bob Aronstam)
If you’ve ever acted in or staged a production, you’ll commiserate with props that aren’t where they’re supposed to be, actors who are self-absorbed hams, sets that fall apart, and doors that won’t open. Especially funny are the ongoing, dueling divas’ scenes when Florence revives from an accident only to discover her role has been taken over by the totally inept, Stage Manager, who becomes feverishly attached to Florence’s femme fatale role.
Highly recommended!!! This excellent cast nails their upper crust British accents in a hugely physical comedy that gallops along at lightning speed. It’s a rollicking goofball sendup that’s guaranteed to keep you guffawing long after you’ve left your seat.
 Andy Izquierdo (Charles Haversham), William Wheat (Perkins), and Justin Beland (Thomas) (Photo/Bob Aronstam)
Written by Henry Lewis, Jonathan Sayer & Henry Shields; Directed by Frank D. Shutts II; Set Design by Dan Diesz and Dan Remmers; Lighting and Special Effects by Ken and Patti Crowley; Costume Design by Jean Schlichting and Kit Sibley; Fight Director Ian Claar; Dialect Coach Carol Strachan; Sound Design by Alan Wray.
Through June 28th at The Little Theatre of Alexandria, 600 Wolfe Street, Alexandria, VA 22314. For tickets and information call the box office at 703.683.0496 or visit www.TheLittleTheatre.com.
Hilarity and Highjinks Abound in Shakespeare’s Much Ado About Nothing at The Little Theatre of Alexandria
Much Ado About Nothing
The Little Theatre of Alexandria
Jordan Wright
April 2, 2025
Special to The Zebra
 Paul Brewster, Amelia Jacquat, Jess Rawls, Tameka Taylor, Judy Rolph Ebner (Photo/Mark Alan Andre) Pull up a barstool at the Bar Messina. We’re in the courtyard and a duo is playing a jazzy rendition of “A Sunday Kind of Love”. It’s present day in the French Quarter of New Orleans where this unconventionally told love story begins. Surely The Bard never envisioned his classic romcom set in the wilds of NOLA, and neither could we, but this rendition seems, well, just right, which is precisely the magic of Shakespeare – its relevancy to our modern times.
Director Joey Pierce, a New Orleans transplant, gives us all the flair and fabulousness we could ever dream of, plus a tremendous 19-actor cast that keeps the merriment at peak performance. There’s the feisty, clever-tongued Beatrice who scorns all suitors and her wordplay match, Benedick, who sets his cap for her. Claudio and his maiden, Hero, a charmer, who crushes on Claudio much to his amazement until Don Pedro, a swashbuckling soldier (who in this incarnation is gay) and his illegitimate brother, Don John who along with Borachio foments a plot against the lovers. And, lest you forget, there’s Leonato, Hero’s father who with his wife, Antonia (an introduced character), seek to protect their daughter against all slyly invented scandal.
 Smithchai Cutchainon (Photo/Mark Alan Andre) Amid all this undermining, scheming and duly faithful affection, our characters show us a festive time. There’s line dancing – the Electric Slide! – and massive doses of comedic pratfalls, secretive plots, frequent drinking, a madly funny scene with Benedick hiding behind the bar listening in to a men’s convo led by Don Pedro about how Beatrice adores him all the while pretending they don’t know he’s there. It’s the consummate set up to convince him she’s in love with him. When our heroine, Bea, hooks up with her gal pals, to share the exciting news, they all do shots. Well, it is New Orleans, after all. Make me a sazerac!
Later we encounter an ersatz sheriff with his band of nincompoops, aka “The Watch”. In fine comic form they have been deputized to arrest the duplicitous men who are lolling about engaged in a TV show about swamp creatures. Cue the Cajun accents and conjure up the Keystone Kops.
 Jaye Frazier, Brendan Chaney, Michael Townsend, Ruth Sherr (Photo/Mark Alan Andre) The whole play is witty, silly, charming and absolutely hilarious – played to the hilt and beyond. Julie Fischer’s two-level set design is oh-so-clever and Joan Lawrence’s costumes nail the styles with Benedick, Claudio and their cohorts in military camouflage, the ladies in brightly colored dresses, and Hero’s faux funeral scene that has all the hallmarks of a New Orleans’ style homegoing.
Recommended to cure what ails you!
 Tameka Taylor, Ruth Sherr, Megan Fraedrich, Amelia Jacquat & Lily Larsen (Photo/Mark Alan Andre) With Paul Brewster as Leonato, Amelia Jacquat as Hero, Jess Rawls as Beatrice, Seth Rue as Benedick, Zachary Litwiller as Don John, Michael McGovern as Don Pedro, Lily Larsen as Margaret, Brendan Chaney as Borachio, Smithchai Chutchainon as Claudio, Judy Rolph Ebner as Antonia, Jeff Elmore as Dogberry, Megan Fraedrich as Balthasar Sister/Sexton, Tamika Taylor as Ursula, Michelle Hughes as Balthasar Sister, Dan Lavanga as Verges/Friar Francis, Leo Mairena as First Watchman, Ruth Scherr as Second Watchman, Jaye Frazier as Messenger/Third Watchman and Michael Townsend as Conrade.
Assistant Director Heather Sanderson, Choreography by Melissa Dunlap, Lighting Design by Jeffrey Auerbach and Kimberly Crago (JK Lighting), Sound Design by Alan Wray, Hair and Makeup by Jennifer Finn.
Through April 19th at The Little Theatre of Alexandria, 600 Wolfe Street, Alexandria, VA 22314. For tickets and information call the box office at 703-683-0496 or visit www.TheLittleTheatre.com.
The Explorers Club
The Little Theatre of Alexandria
Jordan Wright
September 6, 2024
Special to The Zebra
 Lucius Fretway (Michael Townsend) tries to catch a drink from blue-skinned bartender Luigi (Omar Quintero) at The Explorers Club (Photo/Matt Liptak) When Lucius Fretway (Michael Townsend), a handsome young botanist, puts up a pretty female explorer for membership in the exclusive all-men’s club, all hell breaks loose in this nifty farce. The old codgers in The Explorers Club whose past conquests and ongoing research are decidedly questionable, rail against the mere hint of a woman in their tony club. Biblical scholar and serial misogynist, Professor Sloane (Richard Fiske), calls her a “harlot” for violating her feminine station and the doddering adventurer Sir Harry Percy (John Henderson), who claims to have discovered the “East Pole”, agrees wholeheartedly, that is until the lovely Phyllida Spotte-Hume (Rachel Hubbard) arrives, and he begins to challenge Fretway for her attentions. Professor Cope (Ricardo Padilla), a herpetologist whose snake has a mind of its own, is determined to keep her out.
The indelibly charming and brilliant explorer, Phyllida, has recently returned from the discovery of the lost city of NaKong where she has discovered a tribe of feral natives. Naturally, she brings back one of the savages whom she fondly calls Luigi (Omar Quintero). He is totally blue, as in skin color, as opposed to his daffy disposition.
 Professors Walling (Steve Rosenthal). Cope (Ricardo Padilla) and Sloane (Richard Fiske) speak no evil, hear no evil and see no evil (Photo/Matt Liptak) Phyllida has figured out how to tame Luigi by learning his language and recognizing that a common spoon represents his god. With this insight she plans to present him to Queen Victoria who has agreed to an audience – a fortuitous and equally absurd opportunity. You will love the puns and rapid-fire hilarity delivered by a crack cast who speak Brit Wit in upper crust British accents thanks to Co-Producer and Accent Coach, Carol Strachan.
Things go sideways (frequently!) as when the club receives Sir Bernard Humphries (Meghan Mohon), an emissary from the palace, to seek redress after a club member has slandered the Irish who send a well-armed contingent to destroy the club. To settle the naysayers, Luigi fills in as the club’s absentee barman serving drug-laced cigars and drinks which brings howls from the audience.
 Sir Bernard Humphries (Meghan Mohon), Beebe (Michael J Fischer), Professor Sloane (Richard Fiske) & Sir Harry Percy (John Henderson) relaxing over “brandy and cigars (Photo/Matt Liptak) The period costumes by Michelle Harris are spot on as is a gob-smacking set design by Tom O’Reilly. Huge props to Hubbard, Quintero and Townsend who take things over the top.
Playwright Nell Benjamin (award-winning playwright of the musical Legally Blonde and lyricist for Mean Girls and Because of Winn Dixie) sets this corker in Victorian London when women were relegated to rearing children while highborn gentlemen spent their time and money garnering support for far-flung adventures while exploiting the natives.
With Hubbard also playing Countess Glamorgan and Michael Fisher as Beebe and Irish Assassin.
Directed by Adam Konowe; Co-Produced by Alan Wray; Lighting Design by Myke Taister; Sound Design and opening musical number composed by William Chrapcynski; Hair and Makeup by Robbie Snow.
Highly recommended!
Through September 21st at The Little Theatre of Alexandria, 600 Wolfe Street, Alexandria, VA 22314. For tickets and information call the box office at 703 683-0496 or visit www.TheLittleTheatre.com.
Mark Twain’s Hilarious Farce Is He Dead? at the Little Theatre of Alexandria
Mark Twain’s Is He Dead?
The Little Theatre of Alexandria
Jordan Wright
May 29, 2024
Special to The Zebra
 Sarah Keisler, Lanny Warkentien (Photo/Matthew Randall) How to pump up the audience and give them a taste of what’s to come? Open with the soundtrack of Lady Gaga’s “Bad Romance” and, bam! We’re in Paris. That’s how Director Joey Pierce prepares the audience for Mark Twain’s Is He Dead? Set in the Barbizon area, it’s a zany comedy about how an artists’ works are worth buckets more dough when he’s dead. The trick is convincing buyers that the artist is truly dead and not just on the Barbary Coast, which is their big, thankfully unchallenged, lie. Three friends and the artist himself, all very much in debt and needing money to escape jail, ignominy and poverty, conjure a way out of their fraught situation, offering up lots of absurdities for us to gobble up.
Mark Twain (pen name of the great American writer, Samuel Clemens) represents all the irreverence and general societal nose-thumbing I found exquisitely redeeming as a young reader. Like me, many of his fans are unfamiliar with his little-known foray into playwriting. This recently unearthed comedy should set the record straight and serve to bring new fans to his work.
 Hanlon Smith-Dorsey, Brendan Chaney, Zachary Litwiller, Lanny Warkentien (Photo/Matthew Randall) Discovered by Twain scholar, Shelley Fisher Fishkin, in an archive of his works at UC Berkeley, the farce was brought to Broadway in 2007 with the help of contemporary playwright, David Ives, who adapted the production.
It tells a fictional story of the famed pastoral painter, Jean-Francois Millet (Lanny Warkentien), who is in love with the beautiful Marie Leroux (Sarah Keisler) but in debt to Bastien Andre (Kirk Lambert). If Millet can’t come up with the dough, Andre wants to marry Marie. The action opens at Millet’s studio where he and his pals, Agamemnon Buckner “Chicago” (Brendan Chaney), Phelim O’Shaughnessy (Zachary Litwiller) and Hans von Bismarck “Dutchy” (Hanlon Smith Dorsey) are plotting to get Millet out of imminent danger. This trio of copains are as disparate as could ever be conjured up. Here’s where the plot is hatched to fake Millet’s death. They will rake up the prices and invite Basil Thorpe (Justin Beland), a villainous British art dealer art dealer to return. Naturellement, nothing goes as planned and that’s when the fun begins.
They invite him to return on the pretext of announcing the terrible news and he falls for it, buying up all the paintings at hugely inflated prices. Disguising Millet as Millet’s grieving widow is the first step and Warkentien steals the show in a hot pink satin frock with over-sized paniers. I thought of Milton Berle and Jonathan Winters – both comedians well-known for their cross-dressing characters. Two elderly ladies, Mdme. Bathilde (Beverly Gholston) and Mdme. Caron (Anne Shively), friends of the artist who know nothing about the switcheroo, come for tea with the “widow” and pass off “her” odd behavior as a woman grieving the loss of her husband.
 Kirk Lambert, Brendan Chaney, Lenny Warkentien, Sarah Keisler, Alayna Theunissen (Photo/Matthew Randall) From a humble artist’s atelier in the first act to a lavish set design of a drawing room in Act Two of the now, well-to-do widow’s 19th century maison attended by her nutty butler Charlie (Justin Beland), we are privy to a sea change in Millet’s fortunes. Drawing on burlesque this witty comedy exposes the perils and deceptions of the art world.
This cast clicks, but it’s Brendan Chaney as Chicago and Lanny Warkentien who are both the glue and the energy that take this farce to the next level.
Great fun and a terrific summer romp!
With the cast in multiple roles and a slew of costume changes. Alayna Theunissen as Cecile Leroux; Leo Mairena as Papa Leroux; Lanny Warkentien as Jean-Francois Millet and the Widow Tillou; Beverly Gholston as Madame Bathilde and Emperor of Russia; Anne Shively as Madame Caron and the Sultan of Turkey; Justin Beland as Basil Thorpe, Reporter, Charlie and the King of France. Understudy Justin von Stein plays Millet/Tillou on May 22, 31and June 1.
Original adaption by David Ives; Set Design by Matt Liptak; Lighting Design by Adam Konowe; Sound Design by Alan Wray and Christine McShay; Costume Design by Jean Schlichting and Kit Sibley; Makeup and Hair Design by Sue Pinkman.
Through June 8th at The Little Theatre of Alexandria, 600 Wolfe Street, Alexandria, VA 22314. For tickets and information visit www.The Little Theatre.com or call the box office at 703 683-5778.
Agatha Christie’s Murder on the Orient Express is a Standout at The Little Theatre of Alexandria
The Little Theatre of Alexandria
Jordan Wright
March 26, 2024
Special to The Zebra
 (L – R) Michael Kharfen (Hercule Poirot), Brianna Goode (Countess Andrenyi) and Brian Lyons-Burke (Monsieur Bouc). (Photo/Matt Liptak) “Touch nothing!” is the no-nonsense command given by writer Agatha Christie’s über-detective, Hercule Poirot (Michael Kharfen who inhabits Poirot with an absolutely brilliant performance). A man is found murdered in his stateroom and everyone’s a suspect. For those who love crime drama and murder mysteries with a soupçon of humor, it’s the first order of business when investigating a fresh crime. Without DNA or CCTV an old-fashioned detective needed to have mad deductive skills. That said, it’s not only fun to play along with the Belgian gumshoe’s innate ability to seek out liars like a truffle-hunting pig, but to try and puzzle it out for ourselves. Even if you’ve seen this dramedy before, you’ll still thrill to its witticisms and this marvelous cast.
Set in the 1930’s, ten passengers traveling on the posh Orient Express are under deep suspicion. Who had the motive? Who had the means? Who had a provable alibi? Who was closest to the scene? And, who had the most to gain? As clues and red herrings spring up like weeds, Poirot must unravel truth from fiction.
 (L – R) Brian Lyons-Burke (Monsieur Bouc), Michael Kharfen (Hercule Poirot), Brianna Goode (Countess Andrenyi) and Paul Donahoe (Head Waiter/Michel) (Photo/Matt Liptak) With so many suspects on board, who could be the perpetrator? Alibis abound. Was it the Russian Princess Dragomiroff (Patricia Nicklin)– a feisty noble traveling with Swedish missionary, Greta Ohlsson (Julia Rudgers); Helen Hubbard (Eleanore Tapscott), an American heiress on the hunt for her fourth husband; Michel the conductor (Paul Donahoe), whose uniform button was found beside a body; Scottish Colonel James Arbothnot (John Paul Odle) or his illicit paramour, the English governess Mary Debenham (Danielle Comer); Monsieur Bouc (Brian Lyons-Burke), Poirot’s dear friend, fellow Belgian and director of the Orient Express company Wagon-Lits; the pretty Hungarian doctor, Countess Andrenyi (Briana Goode); or Samuel Ratchett (Paul Caffrey), the rough and tumble American businessman traveling with his secretary, Hector McQueen (Avery Lance). When Ratchett turns up dead in his bed, everyone is questioned as to their whereabouts the night before.
 (Seated L-R) Brianna Goode (Countess Andrenyi), Eleanore Tapscott (Helen Hubbard), Patricia Nicklin (Princess Dragomiroff), Julia Rudgers (Greta Ohlsson)
(Standing L-R) Brian Lyons-Burke (Monsieur Bouc), Paul Caffrey (Samuel Ratchett), John Paul Odle (Colonel Arbuthnot), Michael Kharfen (Hercule Poirot), Danielle Comer (Mary Debenham), Avery Lance (Hector MacQueen) and Paul Donahoe (Head Waiter/Michel) (Photo/Matt Liptak) The stunning opening conjured up by Director Stefan Sittig, Lighting Designers, Ken and Patti Crowley, Sound Designer Janice Rivera and Set Designer Matt Liptak sets the perfect tone in the pitch dark of the theatre featuring a realistic-appearing, whistleblowing, Mars light ablaze locomotive roaring onto the stage. Creating an alluring ambiance for intrigue, the full-stage revolving set design features an elegantly furnished dining car for the passengers – insert audible audience’s gasp here – the second reveals a cutaway view of the passengers’ bedrooms. It’s quite dramatic and remarkably effective.
To all the amateur sleuths out there, I pose this question. Can you name the killer before the dénouement? Alors, mes amis, imagine yourself on a train bound for London in the middle of a blizzard and trapped by a massive snowdrift in the mountains of Yugoslavia with no way out. As Poirot might say, “Bonne chance!”
A clear winner for The Little Theatre!
 (L – R) Patricia Nicklin (Princess Dragomiroff) and Julia Rudgers (Greta Ohlsson). (Photo/Matt Liptak) Adapted by Ken Ludwig; Dialect Coach, Alden Michels; 1930’s period Costume Design by Jean Schlichting and Kit Sibley; Fight Choreography by Stefan Sittig; Makeup and Hair Design by Larissa Norris.
Through April 13th 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.
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