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Disney’s Frozen is a Shimmery, Wintery Ice Palace of Wonder at the Kennedy Center
Disney’s Frozen – The Hit Broadway Musical
The John F. Kennedy Center for the Performing Arts
Jordan Wright
December 26, 2023
Special to The Zebra
 Caroline Bowman as Elsa (photo/Deenvan Meer) What’s shimmery, glittery and icy all over? Frozen!!! The Disney spectacular indulges everyone’s wintery fantasy with visions of sugar plums dancing in their heads – most especially the adorable tiny princesses that filled the audience in their long tutus and tiaras dressed up like Elsa and waving shiny wands. Did they know the story, the music and all the lyrics? You bet they did, though their parents and grandparents kindly kept them from singing out loud.
Kristen Anderson-Lopez and partner Robert Lopez who together crafted the music and lyrics from Jennifer Lee’s book, keeps the audience in thrall as what was originally the Disney movie by the same name, comes alive in front of eager eyes. From the stage they’re asked if this is their first Broadway show and quite a few gleefully raised their hands. What a scintillating introduction to musicals and, I mused, what a tale they’ll tell their children!
 Lauren Nicole Chapman as Anna and Company of Frozen North American Tour (Photo/Matthew Murphy for Disney) The story of the two sisters, Elsa (Caroline Bowman) and Anna (Lauren Nicole Chapman), brought up in a magnificent kingdom by their caring parents, the King Agnarr (Kyle Lamar Mitchell) and Queen Uduna (Katie Mariko Murray) of Arendelle, is beloved around the world not only for the beautiful story but also the lessons it teaches children – to be kind, to love, to be cautious, but also, when to believe. Along with the charming, life-size Sven the Reindeer (Collin Baja or Daniel Plehal) and Olaf (Jeremy Davis) the goofy, fearfully meltable snowman, Elsa learns to tame her secret magical powers and save her sister from a frozen fate.
But this is no average children’s play, nor a mere evening’s diversion. Backed in full by the Kennedy Center Opera House Orchestra in concert with the Frozen Touring Orchestra, it is an epic show set in Scandinavia with all the gorgeous scenery reflecting the frigid fjords and alpine tundra. Video projections fill in what the massive sets cannot impart so that it is like being smack dab in Nordic splendor as opposed to sitting in your cozy velveteen seat.
Gowns and balls, maypoles and merriment define the sisters’ lives, until Elsa’s grand coronation when Anna is forced to live in isolation to protect her from Elsa’s dangerous powers.
 Dominic Dorset as Kristoff and DanPlehal as Sven (Photo/Matthew Murphy for Disney) The diverse cast moves effortlessly between ice crystals and shimmery fractals. Comic relief comes from Olaf (Jeremy Davis) and Sven (Collin Baja or Daniel Plehal) and the very silly number, “Hygge” sung beside a wayside chalet by the whole cast who dash in and out of a sauna beating themselves with birch branches to a song about comfort, friendship and conviviality. It is irresistible!
Snow blizzards and the haunting mountain people create just enough suspense to keep you on the edge of your seat. And did I mention Anna and Elsa’s love life? A Prince, Hans of the Southern Isles (Preston Perez), and a kindly mountain climbing guide, Kristoff (Dominic Dorset), are involved – one a straight shooter and one, well, not at all what he seems.
Highly recommended. Embrace the wonder-filled world of Frozen!
 Caroline Bowman as Elsa and Lauren Nicole Chapman as Anna (Photo/Matthew Murphy for Disney) With Annie Piper Braverman or Emma Origenes as Young Anna; Erin Choi or Savannah Lumar as Young Elsa; Evan Duff as Weselton; Tyler Jimenez as Pabbie; Renée Reid as Bulda; Jeremy Davis as Oaken; and Gretel Scarlett as Head Handmaiden.
Additional cast members in the ensemble – Kate Bailey, Kristen Smith Davis, Leigh-Ann Esty, Michael Everett, Jason Goldston, Natalie Goodin, Zach Hess, Adrianna Rose Lyons, Alexander Mendoza, Nick Silverio, Daniel Switzer and Peli Naomi Woods.
Under the direction of Michael Grandage with Orchestrations by Dave Metzger; Sound Design by Peter Hylenski; Puppet Design by Michael Curry; Scenic and Costume Design by Christopher Oram; Lighting Design by Natasha Katz; Choreography by Rob Ashford.
Through January 21st at The John F. Kennedy Center for the Performing Arts, 2700 F Street, NW, Washington, DC 20566. For tickets and information call the box office at 202 467-4600 or visit www.kennedy-center.org
Kennedy Center’s Girl from the North Country is Moving and Unforgettable
The Girl from the North Country
The John F. Kennedy Center for the Performing Arts
Jordan Wright
December 19, 2023
Special to The Zebra
 Chiara Trentalange (center) and the cast of the GIRL FROM THE NORTH COUNTRY North American tour (Photo/Evan Zimmerman for MurphyMade) The thing that Writer/Director Conor McPherson understands is the intrinsic value of Bob Dylan’s words. The Words! The Words! And how Dylan’s lyrics reflect the pain of growing up in small town Minnesota – the frustration of an artist who saw and struggled and loved and experienced the inequality of poverty in America. Surprised as McPherson was when given the go-ahead from Bob Dylan to use his songs in a Broadway musical, his gift for Irish storytelling made him the ideal candidate to interpret the music as poetic script.
This musical had such an impact on me that I’ve been processing it for a week before penning my review. Mainly because the subject matter and the songs are weighty and complicated and the beautifully drawn characters leap right out at you. You know these people, or you know of them. There is an empathic intimacy within this story and in the telling too.
 L-R Ben Biggers, Sharaé Moultrie, Jennifer Blood and John Schiappa (Photo/Evan Zimmerman for MurphyMade) It is set in Duluth, Minnesota. The year is 1934 as the Great Depression settles heavily upon the nation and those with little to show for their lives of hard work and sacrifice are suffering mightily. The Laine family runs a boardinghouse filled with curious characters down on their luck or running from the law or in love affairs gone sour. Nick and Elizabeth try to keep things in order along with their adopted daughter Marianne and their unemployed son, Gene. But Elizabeth’s mental health is failing, and the place is losing money. Hardships and love affairs threaten to topple the tenuous equilibrium.
Pretenders and desperados live amongst them. A fake holy roller priest, a prison escapee, and a doddering shoe store owner who proposes to young Marianne when the father of her yet to be born child leaves town. References are made to the true story in Duluth when a crowd broke into the jail and hung three Black men. It was hard times.
 Sharaé Moultrie (Photo/Evan Zimmerman for MurphyMade) Dylan’s songs are not as he recorded them. Yes, lyric-wise, but not with the same tempo. McPherson gets more heft from slowing them down, changing up some of the notes and phrasing for emphasis and re-imagining their place in the story. You will feel this deeply and appreciate the songs even more when their meaning is placed in the hands, and voices, of this wonderful 17-person cast. When Elizabeth sings Like a Rolling Stone you can feel the undercurrent of trauma, death and mental illness. It is both insistent and poignant.
Dylan’s words were reflective of society’s drift, the ebb and flow of human involvement, of broken women, beautiful women, men on the fringes of society, his own fallibility and the country’s fragility. This is a thinking person’s production with a world of space within its songs to process its meaning.
Highly recommended. Moving and unforgettable.
 Chiara Trentalange and Ben Biggers (Photo/Evan Zimmerman for MurphyMade) With Alan Ariano as Dr. Walker; David Benoit as Mr. Burke; Ben Biggers as Gene Laine; Jennifer Blood as Elizabeth Laine; Matt Manuel as Joe Scott; Sharaé Moultrie as Marianne Laine; Jay Russell as Mr. Perry; John Schiappa as Nick Laine; Chiara Trentalange as Kate Draper; Jill Van Velzer as Mrs. Burke; Jeremy Webb as Reverend Marlowe; Aidan Wharton as Elias Burke; Carla Woods as Mrs. Nielsen;
Soloists/ensemble – Ashley D. Brooks, Justin Michael Duval, Kelly McCormick and Hosea Mundi.
Music and Lyrics by Bob Dylan; Music Direction by Wiley DeWeese; Sound Design by Simon Baker; Lighting Design by Mark Henderson; Scenic Design by Rae Smith; Orchestrator, Arranger and Music Supervisor, Simon Hale.
Through December 31st at The Kennedy Center, 2700 F Street, NW, Washington, DC 20566. For tickets and information call the box office at 202 467-4600 or visit www.Kennedy-Center.org.
Pretty Woman: The Musical – A Spicy, Sunny, Splashy Romcom Musical at the National Theatre
Pretty Woman
National Theatre
Broadway at the National
December 14, 2023
Jordan Wright
Special to The Zebra
 (L to R) Chase Wolfe and Ellie Baker (Photo/Matthew Murphy for MurphyMade) Having seen the movie starring Julia Roberts and Richard Gere won’t prepare you for this bright, sunny musical that shines a light on both sides of Hollywood – the hotshot millionaires and the nighttime denizens plying their trade on the seamier side of town. “Welcome to Hollywood. Everyone’s got a dream,” sings Happy Man (Adam Du Plessis) who calls himself “Hollywood Boulevard’s fairy godmother.”
Surrounded by “hookers” and set in the 1980’s before the politically correct term sex workers, is our heroine, Vivian Ward (Ellie Baker) who longs to leave “the Life” with the number Anywhere but Here. She’s smart, funny, savvy and sexy and longing for a better life for herself.
 Rae Davenport and The Company of Pretty Woman: The Musical (Photo/Matthew Murphy for MurphyMade) Soon we meet wheeler dealer Edward Lewis (Chase Wolfe), who catches her eye with the number Something About Her. He invites her to his penthouse suite at the Beverly Hills Hotel and pays her to stay with him, and play with him, for six nights. Vivian is wowed by the posh digs as is her best friend and fellow sex worker, Kit De Luca (Rae Davenport).
Much of the comic relief is provided by Guilio (Joshua Kring), a bellboy extraordinaire who becomes one of Vivian’s supporters along with the Mr. Thompson the Hotel Manager who is one of many roles played by top banana Adam Du Plessis.
 (L to R) Chase Wolfe and Ellie Baker (Photo/Matthew Murphy for MurphyMade) The tunes run the gamut from country rock with Freedom sung by Edward, to Tango, Jazz and ballads and, of course the classic Roy Orbison and Billy Dees collaboration Pretty Woman all led by Conductor Shane French who masterfully leads twenty-one numbers. Look for Sarah Wang’s stunner of a star turn in the La Traviata aria.
This frisky musical romance stays bubbly throughout thanks to its high-energy, young cast. Composed by Bryan Adams (Grammy Award-winning singer/songwriter and winner of three Academy Awards) and Jim Vallance holder of dozens of Gold and Platinum album awards and collaborator with some of the top recording artists), the musical hits all the right notes thanks to the genius of Garry Marshall icon director of 18 major motion pictures.
 The Company of Pretty Woman: The Musical (Photo/Matthew Murphy for MurphyMade) With Liam Searcy as Philip Stuckey; Charlie Fusari as Landlord; Bethany McDonald as Susan/Ensemble; Devyn Trondson as Rachel/Ensemble; Steven Gagliano, as Fred/Hotel Staff/Alfredo/Ensemble; Hank Santos as Senator Adams/Ensemble; Sarah Wang as Violetta/Ensemble.
Additional Ensemble: Matthew Blum, Brianna Clark, Kerry D’Jovanni, Lauren Esser, Matt Henningsen, Christian Maxwell Henry, Alexandra Kinsley, Joshua Kring, Taylor M. Sheppard.
Two-time Tony Award-winning Director and Choreographer Jerry Mitchell; Original Score by Grammy winner Bryan Adams; Costume Design by Gregg Barnes; Choreography recreated by Rusty Mowery; Direction recreated by DB Bonds; Music Supervision, Arrangements and Orchestrations by Will Van Dyke; Tour Scenic Design by Christine Peters; Sound Design by John Shivers; Lighting Design by Kenneth Posner and Philip S. Rosenberg.
Super professional production and tons of fun!
Through December 17th at the National Theatre, 1321 Pennsylvania Avenue, NW, Washington, DC 20004. For tickets and information visit www.theNationalDC.com.
Swept Away at Arena Stage Features Music by Grammy Winners The Avett Brothers in a Dark Tale on the High Seas
Swept Away
Arena Stage
December 11, 2023
Jordan Wright
Special to The Zebra
 Stark Sands (Big Brother), John Gallagher, Jr. (Mate), Wayne Duvall (Captain), and Adrian Blake Enscoe (Little Brother) in Arena Stage’s East Coast premiere of Swept Away. (Photo/Julieta Cervantes) Swept Away opens with a slow burn culminating into an edge-of-your-seat drama. Scored by The Avett Brothers, an American Roots band who have earned three Grammy Awards, it focusses on the waning days of the whaling trade when whale products were the primary commerce out of the New Bedford, Massachusetts port. Two brothers, named in the program as Little Brother (Adrian Blake Enscoe) and Big Brother (Stark Sands) are on the final voyage of one of the last whaling ships to ply the Atlantic Ocean. They have come from a New England farm where Little Brother ran off to seek adventure and Big Brother followed him onto the ship with the intention of convincing him to come back home. “It’s seed-planting season,” he pleads. But the ship raises anchor before Big Brother can disembark, and now the two boys must begin their adventure together.
The music, taken from the Avett’s Mignonette album, is the glue that holds the plot together with only one song written exclusively for the show. Avett Brothers’ fans, and there seemed to be many in the audience, will recognize their Roots music. Though the combination of soulful and up-tempo songs are a part of the composers’ canon, they had not been written with the show in mind but seem to dovetail seamlessly into the plot.
 Stark Sands (Big Brother), Wayne Duvall (Captain), Adrian Blake Enscoe (Little Brother), John Gallagher Jr, (Mate). Taurean Everett (Ensemble), Orville Mendoza (Ensemble), Michael J. Mainwaring (Ensemble), Tyrone L. Robinson (Ensemble), John Sygar (Ensemble), and Cameron Johnson (Ensemble) (Photo/Julieta Cervantes) It opens with three men imploring a recuperating crewmember to tell the truth, to, “Tell the whole story.” He begins with, “Twenty-one days lost at sea,” which is a familiar tale to anyone who knows the perils sailors faced in those times. Cue Moby Dick.
The story then flashes back to 1888 when the men set sail for the deepest waters of the Atlantic Ocean on their quest to harpoon the massive mammal for a king’s ransom. We meet the rowdy crew of hardened sailors, the Mate (John Gallagher, Jr.) and the Captain (Wayne Duvall). In a show of camaraderie, the sailors bond with each other and the Mate refers to the ragtag crew, “We are pagans and idolators here!” A rowdy group of hardened men unknown to these two hayseeds raised within the Church. “What are we but useless men plying a dying trade,” the Captain asks. Throughout the script and within the lyrics are multiple references to God and salvation.
 Stark Sands (Big Brother) and Adrian Blake Enscoe (Little Brother) (Photo/Julieta Cervantes) Soon the men encounter a terrible storm. The ship goes down and the Captain, the Mate and the two boys are set adrift in a lifeboat. This is where the story goes very dark and becomes well-reflected musically by the striking change in mood.
Directed by Michael Mayer and choreographed by David Neumann, it is bolstered by the talents of Set Designer Rachel Hauck who has created a ghostly ship with old fashioned rigging to fill the stage and backdrop the sailors’ merriment. Yes! There is hornpipe dancing when the men bond as they set to sea. Later Lighting Designer Kevin Adams along with Sound Designer John Shivers and Stage Command Systems’ sophisticated technology seal the dizzying drama which ensues.
Ensemble members: Hunter Brown, Matt DeAngelis, Taurean Everett (and Dance Captain), Cameron Johnson, Brandon Kalm, Michael J. Mainwaring, Orville Mendoza, Tyrone Robinson, John Sygar and Jamari Johnson Williams.
Book by John Logan; Music Arrangements and Orchestrations by Brian Usifer and Chris Miller; Music Director Will Van Dyke; Costume Designer Susan Hilferty.
 Orville Mendoza (Ensemble), Taurean Everett (Ensemble), Stark Sands (Big Brother), Adrian Blake Enscoe (Little Brother), Jamari Johnson Williams (Ensemble), John Gallagher, Jr. (Mate), Michael J. Mainwaring (Ensemble), John Sygar (Ensemble), and Matt DeAngelis (Ensemble) (Photo/Julieta Cervantes) In the Kreeger Theater through January 14, 2024 at Arena Stage, 1101 Sixth Street, Washington, DC 20024. Visit www.ArenaStage.org for tickets and information.
Set To The Music of The Beatles A Hilarious As You Like at STC Tweaks Shakespeare with a Phenomenal Cast
As You Like It
Shakespeare Theatre Company
December 10, 2023
Jordan Wright
Special to The Zebra
 The cast of As You Like It. (Teresa Castracane Photography) Imagine if Gilbert & Sullivan huddled with Tom Wolfe (author of The Electric Kool-Aid Acid Test), and in popped Ken Kesey and his Merry Pranksters, high as kites on Tim Leary’s little Harvard experiment, only then might you glean some insight into the mind of Daryl Cloran who adapted and wrote this madly innovative interpretation of the beloved comedy.
This wild and crazy production of As You Like It is a game changer for keeping Shakespeare relevant to both younger audiences and those of us who have seen it umpteen times and crave a fresh take. It’s creative, ultra-modern and so massively off the chain that even Lewis Carroll wouldn’t be able to claw his way out of this rabbit hole – and he wouldn’t want to. After the five minutes I thought I may never be able to see it presented in any other way. It’s that exciting, as is this dream cast who sing, act, fight and play all the instruments. Shakespeare would have sat right on stage, which is what many of the audience can opt to do. Select those seats if that’s your jam.
 Naomi Ngebulana and Matthew MacDonald-Bain. (Teresa Castracane Photography) Did The Beatles know that they wrote some of the finest musical theater tunes? Some say it was Paul McCartney’s show-biz father’s vaudeville influence. Others say it’s because by then they had enough performance experience that they could truly work a crowd into a frenzy. And frenzy is what this mash-up gets from their audience who are blissfully and happily gobsmacked.
Using the music of The Beatles, it pings our collective memories of the boho days of the mid-60’s through the mid-70’s when the British moptops ruled the music world and bell bottoms and peace signs evoked San Francisco’s Summer of Love. Here the Forest of Arden looks more like California’s Muir Woods and flower power meant all you needed was love.
Emotions go from laugh out loud to sweetly tearful with Rosalind singing velvet-voiced “You’ve Got to Hide Your Love Away”, Phoebe crooning “Something”, Orlando and Rosalind dueting on “Can’t Buy Me Love”, Silvius hamming it up to “Love Me Do”, Touchstone belting “Helter Skelter”, and the entire ensemble singing “Across the Universe”. There’s so much to take in.
 Jeff Irving, Naomi Ngebulana, Chelsea Rose, and Evan Rein. (Teresa Castracane Photography) Twenty-three original Beatles’ tunes are woven into the fabric of this wildly original musical which starts off with a WWE-style wrestling match in a full-size ring, emceed by an Elton John look-alike who plays Touchstone. Standouts are everyone in this singular cast who have tons of talent using every performance trick up their “copulatives” (a made-up term from the show) sleeves. Think of a classic Shakespeare line from As You Like It and then tack on witty asides, grunts and groans, stutters, slapstick and pratfalls. It’s all here and proves that playing it to the hilt is its own reward.
With Henry Beasley as William/Jacques de Boys/Assassin/Forest Lord; Jennifer Copping as Corin/Dame Frances’ Attendant; Andrew Cownden as Jacques/Le Beau; Ben Elliott as Silvius/Forest Lord; Matthew Ip Shaw as Mustachio; Jeff Irving as Orlando de Boys; Kayvon Khoshkam as Touchstone; Alexandra Lainfiesta as Phoebe/Eleanor Rigby; Jennifer Lines as Dame Frances/Dame Senior; Matthew McDonald-Bain as Oliver de Boys; Norman Moses as Adam/Martext; Naomi Ngebulana as Celia; Evan Rein as Amiens/Hymen/Assassin; Chelsea Rose as Rosalind; Isaiah Terrell-Dobbs as Forest Lord; Marco Walker Ng as Charles the Wrester/Forest Lord; Sally Zori as Forest Lord.
Conceived by Daryl Cloran & Christopher Gaze on behalf of Bard On The Beach Shakespeare Festival; Music Director Ben Elliott; Choreographer and Fight Director Jonathan Hawley Purvis; Scenic Designer Pam Johnson; Costume Designer Carmen Alatorre; Lighting Designer Gerald King; Sound Designer Alistair Wallace; Pre-Show Content and Comedic Contributions Kayvon Khoshkam.
Highly recommended. Don’t miss one of the best productions of the year!
 The cast of As You Like It. (Teresa Castracane Photography) Through January 7, 2024 at Sidney Harmon Hall, 610 F Street, NW, Washington, DC 20004. For tickets and information call the box office at 202 547-1122 or visit www.shakespearetheatre.org.
Folger Shakespeare Theatre Returns with a Delightfully Raucous The Winter’s Tale
The Winter’s Tale
Folger Shakespeare Theatre
at The Folger Shakespeare Library
Jordan Wright
November 15, 2023
Special to The Zebra
 It’s birthday party time! The cast of Folger Theatre’s The Winter’s Tale in a celebratory mood. (Photo/Brittany Diliberto) After a three-year wait, Folger at last revealed its redesigned entrance and reception space to theatregoers. Don’t worry. The theatre looks the same with its beautiful walnut coffered walls and upper seating gallery. Modernizing the Folger Library is still ongoing and is on target to be completed next year.
It’s Karen Ann Daniels’s first season as Artistic Director and if this is any mark of her guidance, we are in for a treat. The Winter’s Tale is a dramedy from Shakespeare’s First Folio of 1623. Considered both a romance and a comedy, it is so much more, especially in the capable hands of Director Tamilla Woodard, who breathes new life into both its dramatic and its comedic side.
 Perdita (Kayleandra White) and Florizel (Jonathan Del Palmer) share a quiet, intimate moment (Photo/Brittany Diliberto) The play opens with a fancy birthday party for Leontes eight-year-old son before morphing into an edge-of-your-seat crime drama. Who did what? What are their intentions? Who’s innocent? Who’s to blame? Who’s going to die? Who’s lying? Who will stand by King Leontes (Hadi Tabbal) even when he’s obviously gone bonkers accusing Queen Hermione (Antoinette Crowe-Legacy) of being impregnated by his best pal, Polixenes (Drew Kopas)? Insert huge eyeroll here. It seems the king has cuckolding on the brain. It turns out, the men go along with him. And although they try mightily to dissuade him from murdering his wife, along with his beloved young son, Mamillius (the adorable and talented Clarence Payne), and the yet unborn babe, their lives are also in danger. The women believe Queen Hermione’s innocence and fight mightily and eloquently for her honor. Paulina (Kate Eastwood Norris), her ally, refers to the king’s delirium as “his tyrannous passion”. And that’s putting it mildly. She gives him holy hell on a plate.
Leontes’ cupbearer, Antigonus (Stephen Patrick Martin), agrees to murder the baby, but his heart aches and instead he leaves her in the forest during a hurricane. When the Shepherd (also Martin who now looks like Big Hoss from the TV show, Bonanza) finds her and takes her in, he names her Perdita (Kayleandra White). Did Shakespeare know it translates to little lost girl in Italian? After she has grown to be a beautiful young woman, Polixenes’ son, Forizell (Jonathan Del Palmer) falls head over heels for the abandoned princess.
 The roguish peddler Autolycus (Reza Salazar) sings a happy tune (Photo/Brittany Diliberto) For the entirety of Act I we are on tenterhooks – gripped by the murderous plot and riveted by the suspense. By the time intermission comes, we don’t want to leave our seats after Leontes has ordered the deaths of his wife, his son and the unborn child.
Act II is a 180. When Time announces that 16 years have passed, the plot switches to raucous comedy, in the goofiest, zaniest, laugh-your- buns-off way. Watch for cowboys and cowgirls doing the Electric Slide at a sheep shearing hoedown; the Shepherd’s no-nothing, goofball son, Camillo (Cody Nickell), and the whole lot of them now speaking with a Southern twang; and a wacky, bicycle-riding, gypsy pickpocket, Autolycus (Reza Salazar) who fires up the audience with a call-and-response “Heigh-ho!” By now, we are on the floor writhing in hysterics. The audience needed stitches after all the shenanigans.
This is a terrific cast of notable locals and Broadway veterans. Standouts are the absurdly hilarious Nickell – a super scene stealer; the marvelous charisma of the statuesque Crowe-Legacy; the undeniable acting chops of Tabbal; and our beloved local actor Norris, who pulls out all the stops to portray both fierceness and humanity.
The humor and switcheroo unpredictability of this play is the very thing that makes it so indelible. In the immortal words of the Roman emperor Marcus Aurelius, “Go with the flow.” All the better to enjoy yourself!
 Music and dance at the sheep-shearing festival in Bohemia (center pictured l to r: Sabrina Lynne Sawyer, Reza Salazar, Kate Eastwood Norris; Kayleandra White, far right) (Photo/Brittany Diliberto) Children Richard Bradford and Clarence Payne share the role of Mamillius and Time, and Shepherd’s Son is played by Nicholas Gerwitz. Sabrina Lynne Sawyer is in the ensemble.
Set Design by Raul Abrego, Jr.; Costume Design by Sarah Cubbage; Lighting Design by Max Doolittle; Sound Design and Original Music by Matthew M. Nielson; Choreography by Joya Powell.
Highly recommended. A treat for the soul and the funny bone!
Through December 17th at Folger Shakespeare Theatre, 201 East Capitol Street, SE, Washington, DC 20003. For tickets and information visit www.Folger.edu or call the box office at 202 544-4600.
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