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Jordan Wright
October 7, 2017
 Lisa Dawn as Sarah and Patrick Kennedy as Richard ~Photo credit Carol Rosegg The Lover opens a door onto a middle class couple conversing in their mid-century modern living room. Richard (Patrick Kennedy) and Sarah (Lisa Dwan) have been married ten years. Over martinis they discuss how they spent their afternoon with their respective lovers. They appear emotionally, and inexplicably, detached – aloof about their spouse’s peccadilloes, and eager to overshare. They quaintly thrust and parry, delivering jealousy-inducing blows with accuracy. But neither flinches. With the unflappable reserve of the English stiff upper lip, they regard each other with all the enthusiasm of a scientific experiment while challenging one another with wild tales of their extramarital exploits. Perhaps, that was Pinter’s intent – to examine the differences between the sexes with a calculatingly eye towards achieving parity. “Frankness at all costs,” demands Richard. Or perhaps, it’s just an exercise in existentialism with the audience as voyeuristic dupes?
Ultimately, it is merely vexing. Why, you wonder, are they so blasé about infidelity? Why should we care about them and their outcome when they are so cruel to each other? When Pinter wrote these set pieces we were coming out of the Beatnik era and into the sexual revolution. It was a time when “being cool” was crucial, and being closed-minded was decidedly “uncool”. But who was being served?
In this one-acter, Richard and Sarah vie for power in a sexually-charged marriage. As their erotic role-playing becomes fiercer, they switch off roles of dominance and submission. It’s a no-win game that plays out in dispassionate insults and fantasy vignettes, with a milkman as red herring thrown in to divert.
 Photo of Patrick Ball as Bill and Jack Koenig as Harry ~Photo credit Carol Rosegg The Collection is a more diverting tale with a somewhat meatier storyline. Two gay men, one a well-to-do elderly man, Harry (Jack Koenig), the other his fancy boy, Bill, the fashion designer (Patrick Ball), live together in a bespoke home in London amid a collection of antiques and Oriental vases. Bill appears to be caught in a tangle. Did he sleep with a woman on a business trip, or did she fabricate the story to make her husband jealous? “Did you have a good time in Leeds last week,” James asks accusingly.
 Photo of Lisa Dwan as Stella ~Photo credit Carol Rosegg As a mystery, it’s no Agatha Christie – far too many holes in it. As in, why would Harry welcome the low-class, middle-aged stranger, James (Patrick Kennedy), into his home for a chat? Who does that? And why would he and Bill ultimately befriend James with promises of a posh life when he accuses James of blackmail? James’ own wife Stella (Lisa Dwan) would have had her reputation destroyed in a divorce case if that had been his intent, which it appears it isn’t. But let’s not allow details to get in the way.
 Lisa Dawn as Sarah and Patrick Kennedy as Richard ~Photo credit Carol Rosegg The action picks up when young Bill is alone with the canny and violent James. Together they play a macabre dance with Bill trying to determine James’ intent and James playing cat-and-mouse with the vulnerable Bill. Their conversation, as in the couple in The Lover is as dry as the proverbial bone, until Harry appears, toys with James’ affections, and Bill is treated like a disposable house guest.
Under the direction of Michael Kahn, these four actors do an exceptional job of tackling this anachronistic fluff, but to what end? In both of these productions cruelty and degradation win out in the end – a Pyrrhic victory all around.
Though October 29th at the Lansburgh Theatre, 450 7th Street NW, Washington, DC 20003. For tickets and information contact the Box Office at 202 547-1122 or visit www.shakespearetheatre.org.
Jordan Wright
October 10, 2017
Special to The Alexandria Times
 Marcus Naylor as Langston Hughes ~ Photo credit Chris Banks Carlyle Brown’s play about the investigation and inquisition of Langston Hughes by the House Un-American Activities Committee (HUAC) is a deeply moving, profoundly disturbing probe into the mind of a successful Black American poet. Under the guidance of Joseph McCarthy, these televised courtroom investigations were led by the notorious Roy Cohn, advisor to Richard Nixon and later mentor to Donald Trump, the Senate Subcommittee turns their search to uncover Communists into a witch hunt the likes of which America had never seen. Like Hitler’s civilian spies it turned the country into a nation of informants – with people putting forth names of co-workers and friends to save their own skin. That many of them had no connection to the actual Communist Party, nor knew anything more than workers had rights and blacks were equal in the USSR, was of no consequence to these self-righteous Senators.
The investigation into, and “blacklisting” of, the lives of hundreds of actors, writers, gays, etc. ruined their lives, careers, and businesses – all in the name of rooting out a misperceived Communist and anti-Christian influence on American society. It turned the country upside down at the time.
 (l-r) Michael Sharp Wood, Van Meter, Josh Taylor, Marcus Naylor as Langston Hughes, Marni Penning, Russell Sunday ~ Photo credit Chris Banks In this newly developed treatment of Brown’s play, Composer William Knowles adds verve to the drama adding original music to background life in 1953 Harlem and, later, the needle-sharp drama of the hearings. Knowles incorporates period Blues, Jazz and Cabaret songs to animate the rhythms and patterns of Hughes’ famous poems. It’s set in the period of the Harlem Renaissance when, as Hughes puts it, “Negroes were in vogue.” Until they weren’t.
It is a sinuous story set to music that weaves in and out of Hughes’ most profound thoughts, highlighting his poetry and underpinning his trial in dramatic fashion. For those familiar with Hughes’ poems it will be a pleasure to renew your acquaintance with “The Weary Blues”, The Negro Speaks of Rivers”, “Harlem Dance Hall”, “Good Morning Revolution” and others.
 (l-r) Russell Sunday, Josh Thomas, Marcus Naylor as Langston Hughes, Wood Van Meter ~ Photo credit Chris Banks Director Thomas W. Jones II does an outstanding job with a diverse cast that brings the necessary gravitas to the story. The six-member cast not only sings and dances in a number of styles of the period, but moves effortlessly through a number of roles and wardrobe changes, that is except for lead actor Marcus Naylor as Langston who tackles the role with virtuosity. The one-acter builds to a crescendo with Hughes’ interrogation by Cohn (played impressively by Marni Penning) who eviscerates the poet piecemeal. The parallels to today’s news are staggering.
Also notable is Wood Van Meter as David Schine, who has a wonderful voice and whose solos are explosive. Michael Sharp as Senator Joseph McCarthy, Russell Sunday as Senator Everett Dirksen and Josh Thomas as Frank Reeves round out this excellent cast.
Carl Gudenius and Shuxing Fan employ an effective set design of large trapezoidal panels that allow for Hughes words, plus photos and videos of the period, to accommodate designer Robbie Hayes’ evocative projections.
Highly recommended. An unforgettable night of theatre.
Through November 5th at MetroStage 1201 North Royal Street, Alexandria, 22314. For tickets and information call 703 548-9044 or visit www.metrostage.org.
 (l-r) Michael Sharp, Russell Sunday, Josh Thomas, Marcus Naylor as Langston Hughes, Marni Penning, Wood Van Meter ~ Photo credit Chris Banks
Jordan Wright
October 9, 2017
Photo credit: Jordan Wright
 Historic Charleston The beautifully preserved port city of Charleston and its neighboring countryside proved an excellent opportunity to test drive the soon-to-be-released the sporty 2018 Sonata with its minimalist design and 8-speed transmission, and the 2018 Elantra GT. Two daytime road rallies exploring this area on its cobblestone streets, highways and country lanes were no challenge for these two excellent-performing, mid-priced cars.
 2018 Elantra GT Both the 2018 Elantra GT and 2018 Sonata presented well through sudden downpours, bumpy roads, last minute turns and quick braking. Our 90-plus degree day consisted of a four-hour morning drive in the Elantra GT and the same time in the Sonata. We drove the vehicles past horse farms and golf clubs, across bridges and beside lush gardens with no stops for a refuel. Plenty of highway and two-lane roads were instrumental in testing its maneuverability, comfort level and braking system. Both dual clutch and manual are equally fuel-efficient and can be started and have the car’s temperature set by using Google. Gotta love that in both hot or frigid climates!
 Hyundai’s 2018 Elantra GT at the Charleston National Golf Club For our early morning road rally 18 Elantra GTs started out from the beautiful Belmond Charleston Place, a magnificent property in the tradition of America’s grand hotels. It was exciting to see them all lined up on the hotel’s cobblestone driveway in all their shiny new colors.
 Charleston National Golf Club Our morning drive took us down Meeting Street and across the city then on to Route 526 to Sullivan’s Island and Route 703 on the Isle of Palms. From there we drove inland to Mt. Pleasant arriving at the Charleston National Golf Course for snacks and cold drinks in their beautiful clubhouse set amid old Live Oaks and swaying Spanish moss.
A different route with different challenges defined our return. From sizzling hot country roads that billowed clouds of steam from the frequent bursts of rainfall, the car handled it beautifully as we headed back to the hotel for a lunch break. We had the chance to note the air conditioning and inside defroster were effective to handle such quickly changing weather conditions. As we drove east on Route 526 beside the Ashley River and across the Cooper River, two rivers that converge at the port of Charleston, we enjoyed the panoramic views of the low country marshes with their acres of sweetgrass that the Gullahs make their intricately woven baskets from. From there we passed the Boone Hall Plantation and Gardens before making our way back to the hotel for a lunch break.
 Low country marshland along the route Our afternoon drive in the Sonata took us across the Stono River on Route 700 and down through John’s Island to stopped at The Plantation at Stono Ferry and on to the Links at Stono Ferry Golf Club in Hollywood before heading back to town. It is a stunning drive, and I highly recommend it to anyone interested in touring the area.
Both cars exceeded expectations. Most especially in what comes standard, though add-ons can raise the final price. They are zippier, snazzier and more comfortable than earlier models with great attention paid to overall design, mileage and performance.
For fuel economy, you can expect the Elantra to give you a ton of savings at the pump.
| FUEL ECONOMY |
City |
Highway |
Combined |
| 2.4L (SE) |
25 MPG |
36 MPG |
29 MPG |
| 2.4L (SEL, Sport & Limited) |
25 MPG |
35 MPG |
28 MPG |
| 2.0T (Sport) |
23 MPG |
32 MPG |
26 MPG |
| 2.0T (Limited) |
23 MPG |
32 MPG |
26 MPG |
| 1.6T (Eco) |
28 MPG |
37 MPG |
31 MPG |
And as for safety, its braking system tell the story.
| BRAKES/TIRES/WHEELS |
| Front |
Dual diagonal, split circuit, power-assisted 12.0-in. ventilated disc with pressure proportioning valves (2.4L/1.6T) |
| Dual diagonal, split circuit, power-assisted 12.6-in. ventilated disc with pressure proportioning valves (2.0T, Optional on SEL, Limited 2.4L) |
| Rear |
Dual diagonal, split circuit, power-assisted 11.2-in. solid disc with pressure proportioning valves |
You can choose either the 6-speed electronic automatic with torque converter, shift lock and SHIFTRONIC™ manual shift mode on the 2.4L or the 8-speed electronic automatic with torque converter, shift lock and SHIFTRONIC™ manual shift mode on the 2.0T. And there’s also a turbo model.
Utility without sacrificing driving dynamics is one of the key benefits to hatchbacks, and the 2018 Elantra GT brings an 8 percent increase in cargo capacity versus the prior generation. It is one of only a few hatchbacks classified by the EPA as a Large Car due to total interior volume eclipsing 120 cubic feet. In fact, Elantra GT has more cargo volume than other hatchbacks such as the Chevrolet Cruze, Ford Focus, Mazda3, Volkswagen Golf and Toyota Corolla iM. Elantra GT is also a sporty alternative to small CUVs. Elantra GT with the rear seats folded down has more cargo capacity than the Toyota CH-R, Mazda CX-3, Chevrolet Trax and Jeep Renegade.
Even more sophisticated safety features are standard on some Elantra models. Advanced Driver Assists are available on Elantra GT Sport through Automatic Emergency Braking w/ Pedestrian Detection, Lane Keep Assist, High Beam Assist and Smart Cruise Control that features stop/start capability. A Hyundai-first, Driver Attention Alert, analyzes driver inputs to determine attention level and provide both a visual and audible warning if it determines the driver’s attention level has become too low. Great for a teen’s first car.
All that utility is wrapped in an evolution of what they call the “Fluidic Sculpture” design language that features Hyundai’s new signature cascading grille, which is flanked by standard LED Daytime Running Lights. Pretty sexy! To further enhance the front light signature, available LED headlights are utilized for both the low and high beams. The side profile is strongly supported by standard 17-inch alloy wheels and 18-inch alloy wheels on the Sport. At the rear, the liftgate features wraparound glass and a rear spoiler. Available LED tail lights and split dual outlet exhaust further support Elantra GT’s fun-to-drive positioning.
| Model |
Engine |
Transmission |
MSRP |
| Elantra GT |
2.0L 4-cylinder |
6-speed Manual Transmission |
$19,350 |
| Elantra GT |
2.0L 4-cylinder |
6-speed Automatic Transmission w/ SHIFTRONIC® |
$20,350 |
| Elantra GT Sport |
1.6L Turbo GDI 4-cylinder |
6-speed Manual Transmission |
$23,250 |
| 2.4L (SE) |
25 MPG |
36 MPG |
29 MPG |
| 2.4L (SEL, Sport & Limited) |
25 MPG |
35 MPG |
28 MPG |
| 2.0T (Sport) |
23 MPG |
32 MPG |
26 MPG |
| 2.0T (Limited) |
23 MPG |
32 MPG |
26 MPG |
| 1.6T (Eco) |
28 MPG |
37 MPG |
31 MPG |
The Sonata’s ABS braking system comes in 4-wheel, 4-channel and 4-sensor with Electronic Brake-force Distribution (EBD) and ESC.
Extensive features on the Sonata include, a standard seven-inch color display audio touchscreen with both Apple CarPlay® and Android Auto® integration. Models equipped with Blue Link Telematics get three years of complimentary Connected Care and Remote services; including the ability to activate many of the features using the Amazon Echo and Google Home virtual assistants. The available navigation system is enhanced with a bird’s-eye-view feature and HERE HD real-time traffic flow data. Furthermore, the inconvenience of outdated map software is now a thing of the past as owners now have three years of complimentary Guidance Package services, which include downloads to maintain up-to-date navigation programming.
Keeping on-trend with today’s connected passengers, smartphones can now be charged without a plug using the available wireless charging pad (Qi standard) while a second-row USB charge port provides additional charging flexibility.
The Sonata is equally impressive. Distinctive new exterior styling transforms Sonata’s visual signature. The dramatic new appearance is highlighted by Hyundai’s bold new “cascading grille” in front and an all-new rear with more prominent branding and relocation of the license plate in the bumper in this category.
Every 2018 Sonata is equipped with Blind Spot Detection (BSD) with Rear Cross-Traffic Alert (RCTA). It’s the only mainstream mid-size car sold with this safety technology as standard equipment. And with its 18.5 gallon tank, the mileage is impressive too.
Pricing throughout the Sonata’s lineup gives consumers a compelling choice.
| Model |
Engine |
Transmission |
MSRP |
| SE |
2.4L GDI 4-cyl |
6-Speed Automatic with SHIFTRONIC® |
$22,050 |
| Eco |
1.6L Turbo GDI 4-cyl |
7-Speed EcoShift® Dual Clutch Transmission
with SHIFTRONIC® |
$22,650 |
| SEL |
2.4L GDI 4-cyl |
6-Speed Automatic with SHIFTRONIC® |
$23,700 |
| Limited |
2.4L GDI 4-cyl |
6-Speed Automatic with SHIFTRONIC® |
$27,400 |
| Sport |
2.4L GDI 4-cyl |
6-Speed Automatic with SHIFTRONIC® |
$25,200 |
| Sport 2.0T |
2.0L Turbo GDI 4-cyl |
8-Speed Automatic with SHIFTRONIC® |
$27,600 |
| Limited 2.0T |
2.0L Turbo GDI 4-cyl |
8-Speed Automatic with SHIFTRONIC® |
$32,450 |
Whichever you choose, driving will be an awesome adventure.
Jordan Wright
October 9, 2017
Special to The Alexandria Times
Photo credit: Jordan Wright
 Historic Charleston Visiting a historic destination naturally brings comparison to our own beloved port of Alexandria, and a few of those thoughts rose idly like bubbles to the surface as I arrived in another beautiful waterfront city. I was curious to see what had changed since I’d visited two decades earlier, when, during a tour of a stately Southern mansion, a tiny octogenarian docent told our group the Civil War wasn’t about slavery. It was the South’s right to keep the North out of their business affairs, she quaintly insisted. Stunned at this declaration, I’m certain my eyes rolled back into my head, but the cat had a firm grip on my tongue and I remained silent amid the small group of visitors. I still regret I didn’t lean in to challenge her version of history.
 The Dock Street Theatre in Charleston’s historic French Quarter Since then, things have shifted somewhat. South Carolina’s governor has removed the confederate flag from the State House, and local African American artists, artisans and chefs are treasured for their unique contributions. The United Daughters of the Confederacy no longer hold sway in a city whose rich cultural history is driven by some 30,000 college students and a more inclusive vision. Thankfully, the city’s charm and joie de vivre remains firmly intact.
 The lobby at the Belmond Charleston Place The Belmond Charleston Place is a magnificent property in the tradition of America’s grandest hotels. A recent $30 million renovation, affords it the distinguished cachet of a world-class property. And with its central location and the city’s ubiquitous pedicabs, sightseeing is a breeze.
 Pedicabs are a convenient way to get around To up your game, book a suite on the exclusive Club Level. Complimentary perks include hot buffet breakfasts; a recharge of afternoon tea, sandwiches and pastries; early evening cocktails and hors d’oeuvres; nightcaps and sweet treats; and flutes of champagne all the live-long day. On the main concourse, amid posh shops like Gucci and Louis Vuitton, there are three restaurants to choose from. Be sure to book in advance for the full-service spa with rooftop pool.
 Club Level luxury suite at the Belmond Charleston Place Within a five-minute walk is the Charleston City Market on Meeting Street. Rebuilt from the original after a fire in 1841, this National Historic Landmark houses dozens of indoor stalls and is open from 9:30 till 6pm.
 Callie’s Biscuits at Callie’s Hot Little Biscuit Grab a cat’s head-sized buttermilk biscuit with all the fixins’ at Callie’s Hot Little Biscuit and shop the stalls for Gullah made sweetgrass baskets, benne wafers, sacks of Carolina Rice, local art, and handmade souvenirs. Refresh at Lowcountry Lemonade where quaffs are made with seasonal muddled fruit. Mine boasted sweet local peaches.
 Horse-drawn wagons take sightseers around the old city Spanning four city blocks the market leads down to East Bay Street and Waterfront Park with its stately Southern mansions. Take in sweeping views of the harbor from White Point Gardens, a five-and-a-half-acre park that’s home to a protected Night Heron rookery set amid old oaks. From there you’re a hop, skip and a jump to the Gibbes Museum, a breathtaking Beaux Arts structure that houses an outstanding collection of American art – both old master and contemporary.
 The Gibbes Museum’s magnificent Beaux Arts interior Of all the mansions and plantations to tour (book through your concierge to tour Magnolia Gardens, Middleton Place, Boone Hall and Drayton Hall), I discovered what must be the most unusual. The Italianate-influenced Calhoun Mansion and Gardens borders on the bizarre with its eye-popping floor–to-ceiling collection of fine art, rare antiques and silver collection, and Orientalia.
 Calhoun Mansion The extraordinarily ornate 1876 mansion is currently owned by a Washington, DC lobbyist. Our docent was respectfully tight-lipped as to whom, but a bit of sleuthing uncovered DC attorney, Howard H. Stahl, who lovingly restored the once-dilapidated 35-room manor house.
 (l-r) Black-eyed pea and rice salad ~ Low country shrimp topped succotash at the Belmond In a city renowned for great Southern cooking and countless restaurants, where to eat? You really can’t go wrong with soulful barbeque, low country cooking or the exceptional local seafood. But I have a fondness for a certain chef and the particularly stylish way he approaches ingredients. Circa 1886 is situated within the gardens of the Wentworth Mansion. Chosen by prestigious Southern Living magazine this year to celebrate their 50th anniversary, it boasts an intimate, intrinsically Southern, candlelit setting that enhances fine dining. Helmed by Executive Chef Marc Collins, whose talent is playing sweet and savory elements against one another, expect to find unique combinations paired with top drawer wines.
 Dishes from Executive Chef Marc Collins at Circa 1886 Our meal began with a trio of delicate crabmeat concoctions, artichoke pudding with sunflower seeds and espelette pepper, a cold soup of turnip greens with a silken peanut cream, followed by gnudi with truffles and loin of antelope with foie gras and blackberry sauce. For an unforgettable taste of the South opt for Collins’ signature dessert – honeysuckle ice cream.
 An artistically designed dessert featuring honeysuckle ice cream at Circa 1886 Weekends are perfect for brunching at the Marion Square Saturday farmer’s market.
 Marion Square Saturday’s farmers market Plan ahead for the Charleston Wine + Food Festival (February 28 – March 4 2018).
Jet Blue flies direct to Charleston from Reagan National Airport.
For a pedicab call Bike Taxi – 843 532.8663.
Jordan Wright
September 20, 2017
Special to The Alexandria Times
 (L to R) Dan Domingues as Pablo Del Valle, Jacqueline Correa as Tania Del Valle, Sally Wingert as Virginia Butley and Steve Hendrickson as Frank Butley. Photo by Dan Norman for Guthrie Theater. Playwright Karen Zacarías’s Native Gardens directed by Blake Robison is hugely hilarious. I had to stop myself from typing “bigly”. You know how things are these days. Everything is viewed through a partisan political filter, no matter which side on the aisle you may seat yourself. And that’s where we find ourselves in this flat-out entertaining dark comedy that pits two widely divergent couples against each other.
The very prescient Zacarías, founder of DC’s Young Playwrights’ Theater and first ever Playwright-in-Residence at Arena Theatre, crafts this social construct of two couples of different ethnic backgrounds whose hearts are in the right place but whose politics and cultural views are worlds apart.
 (L to R) Jacqueline Correa as Tania Del Valle and Dan Domingues as Pablo Del Valle. Photo by Dan Norman for Guthrie Theater Set in Georgetown, an aristocratic, young lawyer, Pablo Del Valle (Dan Domingues) and his pregnant wife Tania (Jacqueline Correa), buy a brownstone next door to an older couple. Pablo is trying to make partner while Tania is studying for her PhD. They are young, Hispanic, open-minded intellectuals, unafraid to speak their minds.
Unfortunately, their formerly abandoned backyard borders the Butleys. Frank Butley (Steve Hendrickson), a retiree devoted to his well-manicured garden, and his wife, Virginia (Sally Wingert), a former executive who clawed her way to the top in a male-dominated industry. Virginia is savvy, sophisticated and sarcastic. Frank is henpecked and self-entitled. Notwithstanding the couples’ differences, they are eager to get along. “Old neighborhood, new neighbors,” Frank says cheerfully.
 (L to R) Sally Wingert as Virginia Butley and Steve Hendrickson as Frank Butley. Photo by Dan Norman for Guthrie Theater. In the beginning all goes well, as the couples sip wine and swap stories about themselves and their gardening philosophies. Tania is eco-conscious and leans towards insect-attracting native plants, while Frank tends his exotic annuals with pesticides and fertilizers. You can smell trouble brewing.
Within days of their moving in, Pablo shocks Tania with the news that he has committed to a party for his entire law firm. They decide it must be outdoors since the house is in dire need of restoration. They hire a team of workmen to beautify their weed-infested garden, remove a ratty chain link fence dividing the properties, and replace it with a spiffy new wooden one.
 (L to R) Dan Domingues as Pablo Del Valle and Steve Hendrickson as Frank Butley. Photo by Dan Norman for Guthrie Theater At first the Butley’s are overjoyed to have a lovely new backdrop for Frank’s formal garden, mere days before the Potomac Horticultural Society is to give out their “Best Garden” awards. But the couples soon hit a snafu when legal eagle Pablo, who has had his property’s boundaries surveyed by the city, tells Frank his beloved roses and hydrangeas are encroaching on their property.
Racist insults fly from both sides of the fence as the couples reveal their prejudices. “They must be Democrats,” Virginia claims while Tania flings Spanish curses and shows her solidarity with the Hispanic workmen. Meanwhile the Butleys bicker amongst themselves, plotting to invoke squatters’ rights. It becomes all-out war with a rapid-fire pace when Pablo accuses Frank’s plants of being “Colonialists”.
 Dan Domingues as Pablo Del Valle, Steve Hendrickson as Frank Butley and Sally Wingert as Virginia Butley. Photo by Dan Norman for Guthrie Theater. The surprising set by Joseph Tilford of an enormous tree flanked by the backyards of the two brownstones – one shabby, one straight out of House and Garden – is a standout. You’ve probably passed homes in Georgetown just like this, though you won’t find any fixer-uppers left.
Highly recommended for multiple viewings. I couldn’t get enough of it.
Through October 22nd at Arena Stage, 1101 Sixth St., SE, Washington, DC 20024. For tickets and information call 202 488-3300 or visit www.ArenaStage.org.
Jordan Wright
September 15, 2017
Special to The Alexandria Times
For one night only, some of Broadway’s leading lights will captivate audiences with the iconic American composer’s greatest hits. Bernstein on Broadway launches the year-long international centennial celebration of Leonard Bernstein with the opening weekend of Leonard Bernstein at 100, a celebration of the Leonard Bernstein’s musical contributions to American theatre.
 (l-r) Mikaela Bennett – Santino Fontana – Matthew Hydzik – Photo credit Kennedy Center Three-time Tony Award-winning Director Kathleen Marshall and Music Director Musical Rob Fisher, will lead Mikaela Bennett (The Golden Apple at Encores!), Santino Fontana (Cinderella, Act One), Matthew Hydzik (the Kennedy Center production of Side Show), Norm Lewis (Porgy and Bess), Beth Malone (Fun Home), and Laura Osnes (Bandstand, Cinderella) in an extraordinary evening of Bernstein’s music for the theater. Joining them will be an ensemble of Broadway triple-threats including Max Clayton, Kim Fauré, Keven Quillon, Shina Ann Morris, Brandon Rubendall, Samantha Sturm, Erica Sweany, and Anthony Wayne.
 (l-r) Norm Lewis – Beth Malone – Laura Osnes – Photo Credit Kennedy Center The sensational production will feature a lush 40-piece orchestra and the acclaimed Choral Arts Society of Washington as more than 75 performers fill the Eisenhower Theater with the unforgettable music of West Side Story, Wonderful Town, and Candide. The performance will also include the irresistibly tuneful score and dancing from On the Town, as well as selections from Bernstein’s Mass, originally commissioned by Jacqueline Kennedy Onassis for the opening of the Kennedy Center in 1971.
Don’t miss it!
This Friday, September 22, 2017 at 8:00pm in the Eisenhower Theater at 2700 F St., NW, Washington, DC. For tickets and information call 202 467-4600 or visit www.Kennedy-Center.org.
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