BroadwayWorld.com Costa Mesa Stories

Review: ANASTASIA - THE MUSICAL Enchants at La Mirada Theatre

Thu, 11 Jun 2026 16:47:42 PST

I'll say this now: this Summer's most beguiling, most enchanting theatrical surprise is perhaps the brand new, gorgeously opulent regional production of ANASTASIA - THE MUSICAL, now on stage at the La Mirada Theatre for the Performing Arts through June 20, 2026.

A visual stunner punctuated by remarkable musicality and an impressive acting ensemble, this epically-staged, winningly triumphant local iteration—helmed by director and choreographer Parker Esse—is, dare I say, more Broadway than Broadway, from its thrilling technical aspects and grandiose (yet still grounded) storytelling to its superb, talent-bursting cast led by a fierce star turn by Lena Ceja in the title role (her La Mirada debut) that audiences will remember for a long time.

I contend that this new La Mirada production is a delightful surprise only because the last time I saw this musical on stage, it was its Broadway national tour back in the Fall of 2019, which was, for the most part, an acceptably fine show, though not quite exceptionally memorable (you can read my review of that production HERE).

By contrast, seeing this exquisite, engagingly paced new production almost erases that previously okay experience, as if I'm seeing the show for the very first time and in its most flattering phase of existence.

The stage musical, of course, has some noteworthy roots.

A 2017 Broadway stage adaptation inspired by the popular 1997 Fox Animation Studios musical film, this "live-action" iteration has been reimagined with a more historically-grounded sensibility that discards the film's more magical elements in favor of highlighting one of history's most intriguing mysteries.

Here, the narrative eschews that creepy, supernatural, magic-wielding zombie villain Rasputin (and his talking, joke-spewing bat minion Bartok) and, instead, leans in more towards a story that tries to uncover the clues behind a longstanding rumor-myth that circulated for decades inside post-Soviet Revolution Russia, following the slaying of the entire Romanov Royal Family in July of 1918.

That rumor, of course, was that there was a possible lone survivor that managed to escape that mass-assignation that took the lives of Imperial Russian Tzar Nicholas II and his entire family by the Bolsheviks, the very movement that sparked the pro-Socialist revolution.

Lena Ceja. Photo by Jason Niedle.

This understandable narrative pivot also spills over to the very vibe of the show, which now more deeply explores the dire ramifications of that mass-assassination on the country and its citizenry, who have since been under strict Bolshevik control, and where travel papers are as monumentally important as food and shelter are to one's survival.

As expected, many of the familiar songs from the animated film—with music by Stephen Flaherty and lyrics by Lynn Ahrens, the same team behind the music of RAGTIME—have been migrated over to the stage show alongside many new songs that expand its scope, all enveloped by a new book written by celebrated playwright Terrence McNally (who also wrote the book for RAGTIME).

It can be argued that the musical's greatest strength lies in its ability to blend spectacle with genuine emotional stakes. McNally's book wisely shifts the narrative away from the film's fantasy aspects and instead grounds the story within the documented political and social upheaval surrounding the Russian Revolution—a not-so-subtle sign that this is not your younger self's Princess cartoon movie anymore.

This inevitable creative decision certainly gives the musical a richer dramatic foundation, allowing audiences to connect more deeply with the characters' personal struggles without any pesky magical wizards and smart-alecky talking animals getting in the way. Here ANASTASIA now feels less like a Disney-esque magical princess fantasy and more like a poignant—and relatable—coming-of-age journey, albeit still with a tiara or two in the mix.

The resulting show, honestly, initially felt well-intentioned but mostly uneven on the surface, as if the stage iteration—like its title character—was still suffering an identity crisis.

Cut to June 2026 and the stage of La Mirada Theatre—presenting a production by McCoy Rigby Entertainment—and somehow, miraculously, the bones of that Broadway stage musical has been reconfigured to look and feel like a newly rediscovered lush epic on an even grander scale that is also bathed in an emotionally grounded, intimately human sensibility. From its glorious start to its hopeful, even tear-inducing ending, this production has turned a previously dismissible show into a must-see musical spectacular.

The company of ANASTASIA - THE MUSICAL. Photo by Jason Niedle.

Able to balance sweeping romance, historical intrigue, and emotional intimacy with elegance and showmanship, this winning new production of ANASTASIA - THE MUSICAL effortlessly retains much of the heart, earnestness, and melodic familiarity that made the animated film a cherished favorite. And with this stage adaptation broadening its scope considerably, the more fairy-tale/supernatural-leaning original adventure can now be separately enjoyed here as a more mature meditation on identity, love, loss, resiliency, and finding one's true home.

Like the animated film, the stage iteration also follows a young woman named Anya (played with palpable gusto by the radiant Ceja), a spunky, self-reliant orphan suffering with fragmented memories of her past. A self-protective survivor by nature, her instincts encourage her to embark on a journey to find the truth of her real identity.

That journey takes her from bleak post-revolutionary St. Petersburg, Russia all the way to the glittering allure of 1920's Paris, France, where the musical traces Anya's path from troubled uncertainty to hopeful self-discovery.

This leads to an encounter with two opportunistic con men: handsome and street-smart Dmitry Dunya (played charmingly by Dillon Klena) and former Imperial Court member Vlad Popov (the very funny Peyton Crim), whom she initially seeks out to acquire some forged (but convincing) travel documents.

It just so happens, however, that the men are searching—actually, "auditioning"—for a woman they can train and pass off as the long-lost Grand Duchess Anastasia Romanov to the family's only living relative, the understandably skeptical and disheartened Dowager Empress Marie Feodorovna (the regal Suzanna Guzmán), Anastasia's grandmother.

As Anya joins Dmitry and Vlad’s scheme, unexpected truths begin to surface.

illon Klena (far left), Lena Ceja (center) and Peyton Crim (far right).
Photo by Jason Niedle.

Along the way, she, of course, develops a deep emotional connection with Dmitry while unknowingly attracting the attention of determined Soviet officer Gleb Vaganov (the superbly menacing Richard Bermudez), whose own family's history is intertwined with the fall of the Romanovs, and is, thus, hell bent on her capture, just in case she really does turn out to be a surviving member of that lineage.

The character of Gleb is the stage adaptation's most significant addition to the story: essentially a reality-based, non-magical substitute for the evil wizard Rasputin in the film. While, admittedly, I found the character a bit of an intrusion in the national tour production I first saw in 2019, here the character feels much more complex and intriguing, thanks in no small part to Bermudez's outstanding, shudder-inducing performance. Rather than being just another conventional villain, the production offers him up as a truly conflicted antagonist whose loyalties are shaped by history, duty, and inherited trauma. His presence here introduces moral complexities that enrich the narrative much more than in the touring iteration, reminding audiences that history is rarely divided into heroes and villains as neatly as fairy tales suggest.

Once in Paris, the trio seeks to convince the Dowager Empress that Anya is indeed her missing granddaughter, with the aid of the Dowager Empress' loyal lady-in-waiting, Countess Lily (hilarious scene-stealer Sarah Wolter), who, by the way, apparently has a secret night life tearing up the dance floors of Paris.

As memories slowly return and long-buried wounds are confronted, Anya must ultimately decide whether her future will be defined by the mystery of her past or by the life she chooses for herself.

An absolutely lavish, stunning production filled with visual and sonic wows, La Mirada's production of ANASTASIA is as thoughtful and empowering as it is just incredible, heartfelt entertainment.

The company of ANASTASIA - THE MUSICAL. Photo by Jason Niedle.

Flaherty and Ahrens' score sounds wonderfully lush coming from the orchestra under the baton of musical director Ryan O'Connell, which beautifully bridges the familiar and the new. Fan-favorite songs such as "Journey to the Past" and "Once Upon a December" retain their emotional gravitas while integrating seamlessly alongside newly crafted material that expands character development and thematic depth. The music consistently captures the show's sense of longing and possibility, often elevating scenes from simple narrative progression into moments of genuine emotional revelation. I don't know about you, but even the next day, I was still humming the melody of "Journey to the Past."

Visually, the production is often a breathtaking theatrical experience. Its fluid transitions between Russia and Paris—frequently enhanced through projections designed by Aaron Rhyne and cinematic-inspired staging techniques enacted by director Esse—create an expansive and lyrical sense of movement and adventure. Esse, also tasked with choreography, provides the show with plenty of dazzling dance sequences that add to the overall grandeur.

The production's sublime design elements—particularly Andrew Hammer's sets and Ricky Laurie's gorgeous period costumes—work in concert to evoke both the splendor of a vanished Imperial world and the vibrant energy of a rapidly changing Europe. These visual flourishes never feel merely decorative, but, rather, they reinforce the story's recurring themes of memory, transformation, and the passage of time. That train sequence alone is an enchanting hybrid of theater and technology that gives the show its luxe epic qualities.

But, of course, at the endearing core of ANASTASIA - THE MUSICAL is the story of Anya herself, who in this excellent production proves herself to be one of the more compelling modern musical heroines. Unlike many of her protagonist peers whose destinies are determined by external forces, Anya's journey—so beautifully and genuinely portrayed by Ceja—is fundamentally about self-definition. Her search for answers becomes a universal exploration of belonging, memory, and the human desire to understand where one comes from. Even when the plot veers into romantic or historical territory, the emotional core remains firmly anchored in Anya's relatable quest for connection and identity.

Ceja evokes that longing just on her face alone. And, dang, she then starts singing her heart out on top of that.

Peyton Crim, Lena Ceja, and Dillon Klena. Photo by Jason Niedle.

Armed with endearing pluckiness and palpably heartfelt expressions, Ceja's excellent performance elevates everything around her, creating a groundswell of enjoyable theatricality that, frankly, touches every aspect of the show. Her touching "I Want" song "In My Dreams" gives but a taste of her impressive abilities as both a singer and an actress.

By the time she reaches the final song of the first act, "Journey to the Past," she has truly won the audience over—so much so that we are convinced she really is the missing Romanov Princess. With every appearance, Ceja mesmerizes with her facial expressions and inspired acting choices and, yes, her vocal prowess. She is a sparkling revelation in this show, which was only merely hinted at during her performance as Mimi in Chance Theater's superb intimate production of RENT a few years ago.

And speaking of Chance Theater, I also first discovered Klena in a small role in an intimate production of PARADE at that same OC theater. It has been truly great watching (and hearing) his impressive evolution and maturation as a musical theater performer and, now, as a confident leading man (I last saw him belt crazy high notes in Musical Theatre West's production of NEWSIES a few years ago, too). Even more impressive is that Klena is able to create his own notable version of Dmitry, a role that his own older brother Derek originated on Broadway. And Klena's chemistry with both Ceja and his cohort Crim are quite fun to watch.

But also quite enjoyable: the comedic duo of Crim and Wolter, who, arguably, deserve their own spin-off musical (or, at the very least, their own web series, in character, natch).

Richard Bermudez and Lena Ceja. Photo by Jason Niedle.

Overall, La Mirada's impressive presentation of this musical adaptation makes a compelling case to only stage the show their way, because what they've fashioned together for this production is truly magical (even without the magical elements from the film).

What makes ANASTASIA - THE MUSICAL resonate most deeply now—and especially in this beautiful production—is its emotional maturity. As someone who grew up loving the original animated film, it is only fitting to want to see a "grown-up," more sophisticated take on the same musical, particularly since the original already had such grown-up themes at its heart, scored by none other than Flaherty and Ahrens, and written by McNally—folks who know a thing or two about history-tinged epics.

Beneath the lavish costumes, opulent visuals, romantic melodies, and historical intrigue lies a surprisingly poignant reflection on the meaning of family—both real and found. The musical suggests that identity is not solely determined by bloodlines or royal titles but by the connections we forge and by the choices we make. In doing so, the show transcends its fairy-tale origins and becomes something far more affecting and deeply meaningful.

Like its heroine, ANASTASIA - THE MUSICAL ultimately finds its greatest strength not in confirming a legend, but in embracing the exciting uncertainty of the journey itself. Esse and company have created a lush, heartfelt, Broadway-caliber musical production that combines theatrical spectacle with genuine emotional substance—a stirring reminder that sometimes the search for who we are can be the most extraordinary adventure of all.

Suzanna Guzmán and Lena Ceja. Photo by Jason Niedle.

Peyton Crim and Sarah Wolter. Photo by Jason Niedle.

Lena Ceja and Dillon Klena. Photo by Jason Niedle.

** Follow this reviewer on Bluesky / Instagram / Twitter X / Threads: @cre8iveMLQ **

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Photos by Jason Niedle / TETHOS, courtesy of La Mirada Theatre for the Performing Arts.

Performances of the McCoy Rigby Entertainment production of ANASTASIA - THE MUSICAL at The La Mirada Theatre for the Performing Arts continue through Sunday, June 28, 2026. The theater is located at 14900 La Mirada Boulevard in the city of La Mirada, CA. Parking is Free. For tickets, visit LaMiradaTheatre.com or call (562) 944-9801 or (714) 994-6310.

Around The BroadwayWorld: Top News, Reviews, Interviews & More from May 2026

Tue, 09 Jun 2026 12:03:21 PST

Around the BroadwayWorld is our monthly snapshot of the biggest stories making waves across the global theatre community. In this May 2026 edition, we're bringing you a fresh batch of standout reviews from regional stages across the country - from Brigadoon at Pasadena Playhouse in Los Angeles to The Phantom of the Opera at Seattle's Paramount Theatre and Pippin at Signature Theatre in DC.

Diane Paulus directs an immersive, David Bowie-inspired Life on Mars at American Repertory Theater, the producers of Japan's Gypsy revival walk back a planned title change, and we go behind the scenes with interviews spanning Adam Fields of the Beetlejuice national tour, The Muny's casting director Michael Baxter, Richard Kind on finally taking on Edna in Hairspray, and BWW's Kid Reporters chatting with the touring Von Trapp kids of The Sound of Music. Plus, get a first look at exciting new productions through performance videos and photos, including Anastasia at La Mirada Theatre, Dear Evan Hansen at Arden Theatre, Pippin at Signature Theatre, and the Manila cast of Jesus Christ Superstar - and so much more from across the BroadwayWorld.

Diane Paulus Will Direct Immersive David Bowie Inspired LIFE ON MARS at American Repertory Theater

Joshua Wright | Boston

Diane Paulus will direct Life on Mars, an immersive theatrical production set to David Bowie's music, as the inaugural production at the Goel Center for Creativity & Performance in May.

GYPSY in Japan: Producers Walk Back Title Change Ahead of 2026 Revival

Joshua Wright | Japan

The Japanese revival of GYPSY will retain its original title when it returns to the stage in 2026, reversing an earlier decision to present the production under the name 'Rose.'

Interviews

Interview: Adam Fields of BEETLEJUICE National Tour

Brock Mills | Jacksonville

For Adam Fields, returning to Jacksonville with the national tour of Beetlejuice the Musical isn’t just another stop, it’s a full-circle moment. The production will play in Jacksonville from May 12–17 at the Jacksonville Center for the Performing Arts.

Interview: BWW’s 'Kid Reporters' Chat With THE SOUND OF MUSIC’s Touring Von Trapp Kids

Melissa Heckscher | Los Angeles

BroadwayWorld Los Angeles' kid reporters talk with the young touring cast of THE SOUND OF MUSIC to find out what it's like to be part of one of Broadway’s most iconic shows and what actually happens behind the curtain.

Interview: Chatting with The Muny's Casting Director Michael Baxter

James Lindhorst | St. Louis

Michael Baxter’s work will shine on The Muny stage during all 50 performances this summer. He led the efforts and had a hand in hiring every one of the 194 actors who will fill the principal and ensemble roles.

Interview: Richard Kind Talks Finally Taking on Edna in The Muny's HAIRSPRAY

James Lindhorst | St. Louis

When The Muny opens their production of Hairspray on June 15, 2026, the legendary Richard Kind will don Edna Turnblad’s housecoat and step into her fuzzy house slippers. Kind, star of stage, screen and film, calls it bucket list moments to get to perform at The Muny and play Edna all at the same time.

Reviews

Review: BRIGADOON at Pasadena Playhouse

Andrew Child | Los Angeles

Brava to Alexandra Silber for capturing all the heart and humor of Lerner’s original book with her thoughtful new adaptation and brava to Katie Spelman for dreaming up a Brigadoon that is as ebullient and spirited as it is deeply human.

Review: THE PHANTOM OF THE OPERA at Paramount Theatre

Shelley Dean | Seattle

It’s almost unbelievable for me to admit that this was my first time seeing The Phantom of the Opera. Of course, I knew the iconic songs and had seen countless clips over the years, but experiencing the production live on stage for the first time was entirely different, haunting, and spine-chilling in the best way possible. From the chandelier drop to the monumental set pieces, the show truly lives up to its legendary reputation. The 2026 tour, directed by Harold Prince, serves as a revitalized version of the original production, featuring Maria Björnson’s iconic designs, musical staging, and choreography by Gillian Lynne. It is absolutely ravishing, and Seattle audiences are lining up hours early to witness the spectacle for themselves.

Review: PIPPIN at Signature Theatre

Aidan O'Connor | Washington, DC

Certain facets of the human condition are foundational to our very existence – change, connection, desire. One such particularly toxic universal truth is a constant need to be something more than we currently are. To search for happiness in external achievement rather than within ourselves, in our simple joys. Pippin at Signature Theatre breathes within that precise virulence, relatively orchestrated by a troupe of impeccably costumed and choreographed players. A feast for the eyes in all senses, Matthew Gardiner’s production surpasses even the highest of expectations.

Videos

Video: Watch La Mirada Theatre's ANASTASIA Star Lena Ceja Perform 'Journey to the Past'

Michael Major | Los Angeles

La Mirada Theatre has released new video footage of Lena Ceja rehearsing 'Journey to the Past' from their upcoming production of Anastasia. The production features Dillon Klena as Dmitry, a role first played on Broadway by his brother Derek Klena.

Photos/Video: DEAR EVAN HANSEN At Arden Theatre

A.A. Cristi | Philadelphia

Arden Theatre Company is now presenting DEAR EVAN HANSEN as the final production of its 2025/26 season, with performances continuing through July 5. New production photos and video have been released from the Philadelphia production, including footage of Evan A. Kaushesh performing “Waving Through a Window.”

Video: Watch 'Corner of the Sky' From Signature Theatre's PIPPIN

Michael Major | Washington, DC

Watch a video of Brayden Bambino performing 'Corner of the Sky' in Signature Theatre's production of Pippin. The in-the-round production is now running through July 26 with tickets available now.

Photos

Photos: Get a First Look at JESUS CHRIST SUPERSTAR in Manila

Oliver Oliveros | Philippines

The 2017 Olivier Award winner for Best Musical Revival, Tim Rice and Andrew Lloyd Webber’s rock opera 'Jesus Christ Superstar,' has officially opened at The Theatre at Solaire.

Review: OC's Segerstrom Center Welcomes New Tour of THE SOUND OF MUSIC

Mon, 08 Jun 2026 10:45:41 PST

You may ask yourself—is seeing yet another touring stage production of the globally and generationally ubiquitous 1959 musical THE SOUND OF MUSIC still worth experiencing live on stage in 2026?

I mean, you can always opt to seeing it as a local production or a community theater presentation, which might be much more friendlier to your wallet in these tough times. Or better yet, you could also just simply launch the show's much beloved 1965 film adaptation on a streaming service or a DVD player conveniently at home without ever leaving the couch. Or you can even wait for a communally fun sing-along version to come back to a theater near you or wait for its next holiday broadcast on network television.

Suffice it to say, this musical is, quite literally, readily available almost anywhere.

But, there's no denying that… live theater just hits different.

In a jolting moment in the second act of its current new touring production—which continues performances at OC's Segerstrom Center for the Arts in Costa Mesa through June 14, 2026—the audience audibly gasps when giant Nazi flags unfurl from behind the proscenium, presenting a very large, very ominous threat to our kindly, adorable central characters of a frightening movement that has now swept through Austria with its evil intentions.

In a moment that, arguably, only a live, Broadway-caliber production can bring, you suddenly realize the living, breathing threats from oncoming fascists, and the very real danger they possess for those in opposition of their ideals. Though these entities portrayed in the musical are from seemingly many lifetimes ago, seeing them portrayed in the flesh reminds us, sadly, that such threats are still very much present in our current times and, in some cases, in our very own neighborhoods, stoked by the sentiments that have risen up in recent election cycles.

Cayleigh Capaldi. Photo by Jeremy Daniel.

As awesome as it is seeing Christopher Plummer rip a Nazi flag to shreds and trade insults with a Nazi on screen, there's just something about experiencing this history-based musical performed live for viewers to really take in as a collective community.

That smack of a visual really reiterates for both first time and well-versed viewers the power of live storytelling presented on the stage medium—and the ways it could inform us of what has been, and what we should probably work hard to avoid happening again.

The idea of spending time seeing—and hearing—joy burst out despite a looming threat as depicted in this otherwise super-saccharine musical is almost a desperate kind of self-care medicine, and with this new production, it's hard not to see it as such, as audiences of all ages walk away from the theater with smiles on their faces and some inescapable tunes stuck in their heads, while also remembering how important it is defeat evil.

Is THE SOUND OF MUSIC too cheesy and old-fashioned? Sure. Is it way too wholesome and not groundbreaking enough for today's savvy audiences? Maybe. But is it kinda, low-key a fun, irresistibly adorable good time? Ah, yep.

While the stage musical in its current touring form certainly doesn't offer anything revolutionary or new to the show's now timeless canon, this latest iteration is, overall, a genuinely enjoyable, earnest, and pleasantly nostalgic revival of a classic, featuring everything that made the show so gosh darn lovable to our parents and their parents before them… and for the younger generations now experiencing it for the first or second time.

Directed by Jack O'Brien and featuring choreography by Danny Mefford, the show unabashedly sticks to the familiar, resulting in a comfortably cozy revival that will satisfy those expecting more of the same.

Christiane Noll and Cayleigh Capaldi. Photo by Jeremy Daniel.

Once again, the kids here are expectedly precocious and adorable. Captain Von Trapp is his usual ornery self, blowing on that silly whistle. Liesl still wants telegrams delivered by boys in shorts. Marta still wants that pink parasol. And Maria still loves singing in the hills out loud.

What's new, of course, is pretty admirable—from the stunning vocals of its leading lady and the stage vet playing the Reverend Mother, to the visually pleasing new set designs from Douglas W. Schmidt that uses woven fabric as a running motif (Maria is a great seamstress after all so we wouldn't put it past her to also sew up some wallpaper along with the children's "play clothes"). I loved Costume Designer Jane Greenwood's stained glass-inspired curtain outfits for the kids and the Baroness' opulent wardrobe choices. And Robert Russell Bennett's orchestrations sound freshly vibrant yet still reverent to Rodgers' and Hammerstein's timeless works.

And speaking of the music… what is also worth celebrating is the improved sound mix inside Segerstrom Center during this production. Sound has repeatedly been a problem with touring musicals that come to the Center for many seasons (cast vocals are often pushed down to an incoherent volume while the orchestra sounds muzzled), but this show sounded incredible throughout, offering a nice balance between voices and accompaniment. The cast is sounding audibly crisp and clear, even when backed by the rousing orchestral music under the baton of musical director Jonathan Marro. I hope this technical miracle continues for all the shows here at the center moving forward.

And of course, what makes THE SOUND OF MUSIC still a worthwhile experience live is just the overall feeling it seems to still produce in its audiences, even as we collectively become more jaded, cynical, and critical in these modern times. But it's hard to argue that only a select few other musicals have embedded themselves into the collective consciousness quite like this show has, a true classic that continues to enchant audiences across decades, cultures, and, yes, generations.

Kevin Earley, Kate Loprest, and Nicholas Rodriguez. Photo by Jeremy Daniel.

Its message is simple, and simply given: Music and singing = Good. Nazis = Very, very bad. Unexpectedly falling in love with your kids' stubborn Governess = Good. Openly and vocally repudiating German invaders = Quite dangerous, but just proceed with caution and maybe have an escape plan.

Based on the memoir of Maria Trapp, the musical follows the journey of ex-nun-to-be Maria Rainer (here played by the lovely-voiced Cayleigh Capaldi), an exuberant young postulant whose free-spirited nature—and constant singing—often clashes with the rigid expectations of life in a convent in Salzburg, Austria circa 1938.

Her spiritual mentor and sometimes chief defender, the Reverend Mother Abbess (played here by the glorious Christiane Noll !) seeing that, perhaps, Maria is meant for more decides to send her away from Nonnberg Abbey to serve as governess to the seven children of the widowed Captain Georg von Trapp (Kevin Earley). Once there, Maria gradually transforms the stern, gloomy household through the healing power of music, kindness, and genuine human connection, winning over not only the Captain's naughty, over-disciplined, and attention-starved kids but the very stoic Captain, too.

As the Captain's emotionally guarded demeanor softens and his children rediscover joy, Maria unexpectedly finds herself falling in love with the family—and, yes, even romantically with the Captain himself. This is problematic, however, since the Captain is already involved in a relationship with the posh Elsa Schraeder (the divalicious Kate Loprest), a wealthy heiress seeing Georg as a conquest to be had.

Ian Coursey and Ariana Ferch. Photo by Jeremy Daniel.

And while all of this drama is happening, the show is also set against the ominous rise of Nazi influence on the eve of the Anschluss and, of course, World War II, which we see depicted in the gradual transformation of young Rolf Gruber (Ian Coursey) from lovestruck telegram delivery dude to full on Nazi youth.

Caught in the middle is the Captain's seven impressionable children, Liesl (the spirited Ariana Perch), awkward teen Friedrich (Torben Mularski), troublemaker Louisa (Skylar Matthews), smart-alecky Kurt (scene-stealing Reece Boyle), observant Brigitta (Haddie Mac), cutesy Marta (Berkeley Waluk), and, lastly, young little Gretl (Everly Beeson) and her Princess Leia buns.

The kids, after learning overnight how to sing in perfect harmonies, turn out to be a talented bunch, too, which convinces their visiting (G)uncle Max Detweiler (the dryly witty Nicholas Rodriguez)—a talent scout and frequent moocher to the rich and powerful—that the Von Trapp Family is his next money-making musical act. Can he convince the kids' stubborn Dad to let them sing at the next Salzburg Festival?

Filled with one unforgettable song after another—including "My Favorite Things," "Do-Re-Mi," "Edelweiss," "Sixteen Going on Seventeen," and the soaring title anthem—THE SOUND OF MUSIC remains a shining example of Rodgers and Hammerstein's unparalleled gift for marrying character development with musical storytelling. While its longstanding reputation as wholesome family entertainment sometimes overshadows the deeper thematic layers enacted by Rodgers, Hammerstein and book writers Howard Lindsay and Russel Crouse, the musical's enduring appeal lies in its genuine, emotional sincerity. Beneath its picturesque Alpine setting, cutesy numbers, and charming romance is a compelling examination of personal conviction, the importance of standing against oppression, and the transformative strength of love despite obstacles from multiple fronts.

Kevin Earley and Cayleigh Capaldi. Photo by Jeremy Daniel.

As it has since its inception, what makes THE SOUND OF MUSIC particularly remarkable is the way it balances intimate human drama with larger historical stakes, while also being entertaining. Maria's journey is one of self-discovery, as she learns that her true calling may not be confined within the convent walls but found instead through service, compassion, and family—and her ability to be able to express herself out loud through song. Likewise, Captain von Trapp's evolution from emotionally distant patriarch to devoted father and moral leader provides the musical with much of its emotional resonance. The Captain and Maria's relationship, on the surface, may be a product of happenstance, but it still unfolds with a sense of logical authenticity, built not on grand theatrical gestures but on mutual respect and shared devotion to the children who bring them together and allow their better selves to come to the surface.

While I didn't see much overt chemistry developing between Capaldi's Maria and Earley's Captain in this production, the legacy of their infamous courtship through decades of musical theater lore hovers with their mere proximity to one another, and thus their eventual tender moment of declarative love seen through "Something Good" (a song originally written for the film that has since made its way into the stage productions) still becomes quite a romantic touchpoint in the show that many will swoon over.

The dated material can sometimes lead to a bit of old-fashioned, too-affected acting performances as well, but at this point, it's almost a forgivable offense to over-act scenes just from a reverential perspective alone. Coursey's Rolf, for example, gives a bit of ick in his romantic duet with Leisl, with a delivery that feels like a throwback to black-and-white gumshoe cadence, but it does help as an early red flag to the dick the character truly becomes in the second act. Elsa is written with less depth and nuance than her cinematic counterpart, so her existence here doesn't seem that much of hindrance to the narrative.

From a theatrical perspective, the musical represents a great frequent example of Rodgers and Hammerstein's combined storytelling powers. The score functions not merely as a collection of popular songs but as essential extensions of characters and the narrative, while lyrically, they are just cleverly crafted and poetically resonant. Each musical number emerges organically from the emotional landscape of the story, whether expressing youthful innocence, romantic longing, patriotic pride, or spiritual reflection. Noll's exquisite rendering of "Climb Ev'ry Mountain" is one of the show's most emotional highlights, and sums up the ultimate lessons to take from the musical.

The show's seamless integration of music and drama continues to influence musical theatre writers decades after its premiere. Though I still consider the show's film adaptation far superior in its overall execution and narrative structure (audiences not familiar with the original stage version will discover songs not used in the film—for good reason—and songs in a completely different order and a totally different setting/context), the musical remains a benchmark for the genre, even if modern musicals today ache to purposefully discontinue its familiar though effective pattern.

Though, yes, some contemporary viewers may regard its earnest sentimentality too treacly to sit through and take seriously, THE SOUND OF MUSIC continues to be universally beloved and successful precisely because it embraces emotional honesty without cynicism. Its infectious optimism never feels naïve but, rather, it serves as a deliberate counterpoint to the darkness encroaching upon the von Trapp family and their homeland—and the values they know to be right. As a result, the musical continually offers both comfort and inspiration for anyone willing to let it wash over them, reminding audiences that hope, integrity, and love can endure even in uncertain times—much like ours today.

Kevin Earley, Ariana Ferch, and the Von Trapp Children. Photo by Jeremy Daniel.

More than sixty years after its Broadway debut, THE SOUND OF MUSIC will likely remain as one of musical theatre's most cherished and enduring works. Its combination of memorable melodies, expressively open characters, and timeless themes continue to captivate audiences of all ages. Whether this tour is experienced for the first time or revisited as a beloved classic, the show stands as a testament to the enduring power of engaging storytelling that speaks directly to the heart, taking a simple but focused tender love story and infusing it with a stirring tale of courage, faith, and familial unity, all while never losing sight of the world beyond it.

So, again, I ask… is the show worth seeing again on stage in 2026? For simply nostalgic and escapist reasons, the answer is still a resounding yes.

* Follow this reviewer on Bluesky / Instagram / Threads / X: @cre8iveMLQ *

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Photos from the National Tour of THE SOUND OF MUSIC by © Jeremy Daniel, courtesy of Segerstrom Center for the Arts.

Performances of THE SOUND OF MUSIC continue at Segerstrom Center for the Arts in Costa Mesa, CA through June 14, 2026. Tickets can be purchased online at www.SCFTA.org, by phone at 714-556-2787 or in person at the SCFTA box office (open daily at 10 am). Segerstrom Center for the Arts is located at 600 Town Center Drive in Costa Mesa. For tickets or more information, visit SCFTA.org.

LAURA BENANTI: NOBODY CARES, Hershey Felder to Headline South Coast Repertory's SCR Presents Series

Thu, 04 Jun 2026 22:40:43 PST

South Coast Repertory has announced that Broadway superstar Laura Benanti and internationally acclaimed actor/playwright/pianist Hershey Felder will headline the 2026-27 SCR Presents Series.

Benanti will perform her celebrated one-woman show Laura Benanti: Nobody Cares in a limited engagement running Oct. 8-11, 2026 on the Julianne Argyros Stage. In 2027, Felder will be in residency for the entire month of July with three offerings: Love Notes, his new work exploring the relationship between composers Johannes Brahms, Robert Schumann and Schumann's wife, Clara, running July 6-18, Hershey Felder, BEETHOVEN, running July 21-Aug. 1, and his popular Hershey Felder's Great American Songbook Sing-Along for two performances only, July 3 at 2 p.m. and 7:30 p.m. Upon meeting and hearing Brahms for the first time, Schumann declared, “Brahms is the new path. He takes over from Beethoven for the new direction in music.” The programming of Love Notes in combination with Hershey Felder, BEETHOVEN celebrates that connection.

SCR Presents is a series of curated, limited engagements and special residencies outside of the subscription plays created by SCR.

“As we continue to innovate and explore uplifting, urgent and entertaining stories of our time, the SCR Presents series allows us to bolster our roster of offerings by bringing in artists and productions that add to SCR's robust slate of offerings,” Ivers said.

“Laura Benanti and Hershey Felder are world-class theatre artists and expand our offerings for those passionate about music,” Appel said. “For audiences who love musicals and comedy, Laura's solo show will be the perfect treat. She arrives on our stage immediately following our production of Into the Woods, which Laura starred in on Broadway. Hershey, a master pianist and actor, has conducted extraordinary research into the lives of the greatest composers of classical music and adds to our collective understanding of these artistic geniuses.”

Laura Benanti: Nobody Cares

Direct from an acclaimed run at Edinburgh Fringe and two sold-out Off-Broadway engagements comes Laura Benanti: Nobody Cares, a one-woman comedy show from the mind of Tony Award-winner Benanti. Known for her dazzling Broadway performances and razor-sharp wit, Benanti takes the stage to share her hilarious, heartfelt, and sometimes brutally honest takes on motherhood, people pleasing and the joys of aging. Blending side-splitting storytelling with original songs, New York Times Critics' Pick Nobody Cares is a love letter to recovering people pleasers, mothers and anybody working on themselves.

Laura Benanti: Nobody Cares is directed by Annie Tippe with music direction and songs co-written by Todd Almond. The production is based on Laura Benanti: Nobody Cares, an Audible Original.

Laura Benanti: Nobody Cares is produced by rigor + ruckus, Jenny Gersten and Ashley Melone and Nick Mills in association with LD Entertainment, Avadon Broadway LLC, Creative Partners Productions and Steve and Cindy Chao. It is suitable for ages 14 and up.

Hershey Felder's Love Notes

Felder's new work, Love Notes, takes place in Dusseldorf, Germany in 1853. A young Johannes Brahms steps into the orbit of musical giants, composer Robert Schumann and his wife, pianist and composer Clara Schumann. Brahms plays for the Schumanns and Robert declares him “a genius, the new Beethoven.” One year later, Robert Schumann descends into madness and commits himself to an asylum. The young lion-like Brahms remains by Clara's side to help her and the Schumann's seven children and falls deeply in love, yet Clara remains eternally devoted to her husband. What happens between them all is a romantic story for the ages written in sound.

With Felder as Johannes Brahms, Sally George as Clara Schumann and Jonathan Silvestri (Rachmaninoff and the Tsar), as Robert Schumann, Love Notes features a story of passion, longing and love that led to the some of the most beautiful music ever composed

Hershey Felder, BEETHOVEN is based on Dr. Gerhard von Breuning's factual Aus dem Schwarzspanierhaus, Felder brings Ludwig van Beethoven to life through the eyes of the Viennese Dr. Breuning, who spent his boyhood by the maestro's side. Featuring some of the composer's greatest works, from the Moonlight Sonata and Pathétique Sonata to selections from the 5th and 9th Symphonies, Hershey Felder, BEETHOVEN is an intense, illuminating, unforgettable journey through time that immerses audiences in the astounding life of Ludwig van Beethoven. Joel Zwick directs this production that has earned rave reviews from critics across the country.

Tickets

Tickets: SCR subscribers for the 2026-27 season may purchase tickets for all SCR Presents events now. Ticket prices for Laura Benanti: Nobody Cares range from $91-$135 and go on sale to the general public Aug. 4. Ticket prices for Love Notes and Hershey Felder, BEETHOVEN range from $76-$145, with prices for Hershey Felder's Great American Songbook Sing-Along ranging from $92-$145. They go on sale to the public Jan. 5, 2027.

LAURA BENANTI: NOBODY CARES, Hershey Felder to Headline South Coast Repertory's SCR Presents Series

Thu, 04 Jun 2026 22:40:43 PST

South Coast Repertory has announced that Broadway superstar Laura Benanti and internationally acclaimed actor/playwright/pianist Hershey Felder will headline the 2026-27 SCR Presents Series.

SCR Presents is a series of curated, limited engagements and special residencies outside of the subscription plays created by SCR.

Laura Benanti: Nobody Cares

Laura Benanti: Nobody Cares is directed by Annie Tippe with music direction and songs co-written by Todd Almond. The production is based on Laura Benanti: Nobody Cares, an Audible Original.

Hershey Felder's Love Notes

Tickets

BroadwayWorld Launches Producer Fantasy Game

Tue, 09 Jun 2026 11:00:05 PST

Ever watched the weekly Broadway grosses roll in and thought you could pick the winners? Now you can put it to the test. BroadwayWorld has launched the Producer Fantasy Game, a free, season-long competition that lets theatre fans build a roster of Broadway shows and earn points based on how those productions actually perform at the box office. The draft window is open now.

How It Works

The setup is simple. During the draft window, you pick any six Broadway productions that opened this season. Drafting is non-exclusive, so there is no need to race a rival for a hot title. Any number of players can roster the same show.

From there, your shows go to work for you. Every week, each production on your roster earns fantasy points based on its reported box office grosses and capacity percentages. When Tony, Drama Desk, Drama League, and Outer Critics Circle nominations and wins are announced, your shows bank bonus points on top of that. And each week you can answer our Fantasy Forecast prediction questions for up to five bonus points per correct call.

Weekly Scoring

Each week, a show earns one base point for every $50,000 it grosses, so a $1 million week is worth 20 base points. On top of that, shows can earn bonuses: up to five points for filling seats (based on how close to full capacity the house ran), six points for grossing $2 million or more (or three points for grossing between $1 million and $2 million), and eight points if its gross jumped at least 15 percent from the week before. A show loses four points if its gross dropped at least 15 percent. If a show goes dark and reports no gross for a week, it scores zero for that week with no penalty.

The Fantasy Forecast

The Producer Fantasy Game is really two games in one. The first is the box office game: drafting shows and earning points from their weekly grosses and awards. The second is the Fantasy Forecast, a weekly set of prediction questions about what's happening on Broadway, where each correct answer is worth up to five points. You can play one or both.

We track them separately so you can shine at either. Your Producer score covers the box office game, your Forecast score covers your prediction results, and your Combined score adds the two together for the overall championship ranking. The leaderboard lets you toggle between Overall, Producers, and Forecasters, so a sharp predictor can top the Forecasters board even during a rough season for their roster, and a roster powerhouse can lead the Producers board without answering a single question.

Managing Your Roster

Your lineup stays at six shows all season, and you have plenty of room to maneuver. You get one free drop every week, three additional season drops to use anytime before the trade deadline, and free replacements whenever a show on your roster closes. New productions open throughout the season and become available the moment they start reporting grosses, so it pays to keep a transaction in your pocket for that buzzy new opening.

Join the Game

The Producer Fantasy Game is free for all BroadwayWorld users, and you can join any time the draft window is open. Draft within the first two weeks of the season and your roster is scored from opening week, so the earlier you get in, the more weeks you bank. Build your roster, make your predictions, and start climbing the leaderboard today.

Review: Defying Gravity - An Evening with Stephen Schwartz Flies to the Irvine Barclay

Thu, 04 Jun 2026 09:42:52 PST

It's a very rare treat—particularly all the way here in Orange County, California—to hear Broadway songs and the stories behind them performed directly by the legendary composer himself, even for just a one-night-only event. But that is exactly the gift bestowed upon a rapt audience recently when the Irvine Barclay Theatre presented DEFYING GRAVITY: AN EVENING WITH Stephen Schwartz & FRIENDS to a sold-out crowd on the evening of May 23, 2026.

Produced by Spot-On Entertainment, the concert showcased Schwartz's hits from the stage to the screen, which, of course, included tunes from his global hit stage musical WICKED, which recently became a two-part cinematic hit. Along with pianist John Boswell (who alternated with Schwartz behind the piano), Schwartz was also joined on stage by a talented foursome that included Erik Altemus, Kelli Rabke, Nita Whitaker, and Scott Coulter.

Arguably, few contemporary musical theater composers have left as indelible a mark on the art form as Schwartz, a notably prolific songwriter whose gift for melding soaring melodies with deeply human storytelling has captivated audiences for more than five decades. A three-time Academy Award winner as well as a multiple Grammy Award recipient and Tony Award nominee (he received an honorary Tony Award in 2015), Schwartz first burst onto the theatrical scene with his groundbreaking musical GODSPELL in 1971, a show with which he quickly established himself as a singular creative voice capable of blending contemporary musical sensibilities with timeless emotional resonance.

His subsequent musicals—which include the hit PIPPIN (1972), THE MAGIC SHOW (1974), THE BAKER'S WIFE (1976), CHILDREN OF EDEN (1991), and the global phenomenon WICKED (2003)—have demonstrated an extraordinary ability to craft songs that are at once relatable and accessible, emotionally rich, and dramatically potent. His most recent Broadway musical was last year's THE QUEEN OF VERSAILLES starring the original Galinda from WICKED, Kristin Chenoweth.

Beyond the Broadway stage, Schwartz's signature style has also enjoyed remarkable success in film, contributing unforgettable songs to animated classics such as Pocahontas, The Hunchback of Notre Dame, and The Prince of Egypt as well as the live action musical Enchanted and its sequel. His work consistently reflects a fascination with themes of identity, faith, ambition, and personal transformation, lending his musicals an enduring relevance that continues to resonate across generations. Adored by performers, directors, and audiences alike, Schwartz remains one of the most influential composers and lyricists in modern musical theater, a visionary artist whose body of work has helped define the contemporary American musical.

For his first-ever appearance on the Irvine Barclay Stage (which, by sheer coincidence, this writer also performed on just the night before), Schwartz came with stories and personal anecdotes about his work, along with an arsenal of talented vocalists who brought that work to life.

The concert, appropriately enough, opened with "Magic to Do" the welcoming opening number from PIPPIN where Schwartz was joined by the entire cast. The foursome would intermittently return for individual songs and duets for the rest of the concert, all equipped with Broadway-honed voices that shot up to stratosphere.

But the main attraction here, natch, is Schwartz himself who, at times, sang from behind the piano, other times standing shoulder-to-shoulder with his fellow performers. Some of the show's best moments involved Schwartz divulging some insider, behind-the-scenes anecdotes that many fans may not have known. One particular interesting revelation was an early out-of-town song from WICKED called "Making Good," which Schwartz performed live.

According to the composer, his own son Scott didn't like the tune—which turned out to be good advice since the song was later refined and replaced by the much more highly regarded "The Wizard and I," which has since become one of musical theater's most beloved "I Want" songs.

Other first act highlights include Altemus' version of "Extraordinary" from PIPPIN (he played Lewis in the show's 2013 Revival—which I actually saw him in at the Music Box Theatre on Broadway!), Coulter's impressive mashup of "Just Around the River Bend" (from Pocahontas) and "Corner of the Sky" (from PIPPIN), and Rabke's belt-tastic "Stranger to the Rain" (from CHILDREN OF EDEN, in which she played Yonah). But, more than anything, I was definitely in awe of Whitaker's take on "Meadowlark" (from THE BAKER'S WIFE) which, honestly, was the best rendition of the song I have ever heard sung live.

The cast ended the first act with, yes, "Defying Gravity" from WICKED complete with expected soaring vocals—but, alas, no one, not even Mr. Schwartz, was levitated up high with wires.

The second act featured themed medleys that involved Hope—"Morning Glow" from PIPPIN and "Beautiful City" from GODSPELL, and Love—"As Long As You're Mine" from WICKED and "In Whatever Time We Have" from CHILDREN OF EDEN, the latter of which has apparently become a popular wedding song despite its context in the show.

Mixed in between were Coulter's superb take on "Out There" (from Disney's The Hunchback of Notre Dame) and Boswell's cheery "No Time At All" (from PIPPIN). Schwartz, back behind the piano, then offered a moving solo piece "Forgiveness' Embrace" to address where our world is today. Rabke then followed—curiously—with a lovely "Caviar Dreams" from Schwartz's most recent show THE QUEEN OF VERSAILLES.

The concert began to wind down with some uplifting, stirring vocals courtesy of Whitaker in "Colors of the Wind" (from Pocahontas) who was then joined by Coulter and others with a rousing "When You Believe" (from The Prince of Egypt). So gorgeous.

To end the show, Schwartz offered a tender solo of "For Good" from WICKED, followed by the entire cast singing shortened selections from GODSPELL to close out the show: "Prepare Ye" (featuring Altemus' leads), "Bless the Lord" (featuring Rabke), and finally "Day by Day" (featuring Whitaker).

While the show felt somewhat abbreviated—to be honest, I have not seen other iterations of this presented concert so am not sure if this Irvine show was shorter than it normally should be—overall, the concert was a satisfying snippet into the mind of one of our living legends in the world of modern musical theater. Judging from the amount of WICKED merch adorning many of the patrons in attendance (including haha myself), it is clear what kind of impact Schwartz has already given to our world. Here's hoping for more encores in our neck of the woods soon.

** Follow this reviewer on Bluesky / Instagram / Threads / X: @cre8iveMLQ **

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Tickets to upcoming future performances at the Irvine Barclay Theatre can be purchased online at www.theBarclay.org, by phone at 949-854-4646 or in person at the box office located at 4242 Campus Drive in Irvine, on the campus of UC Irvine.

A DRAG QUEEN CHRISTMAS to Return for 12th Year With 39-City National Tour

Tue, 02 Jun 2026 19:57:07 PST

“A Drag Queen Christmas” will return for its 12th year, launching a 39-city national tour this November - December. The 2026 edition is hosted by returning fan favorite and theatre star Nina West, and features an all-new merry lineup of drag superstars from the Emmy-winning RuPaul's Drag Race franchise.

Artist pre-sale begins Wednesday, June 3 at 10 a.m. (local time) with the code “TWELVE,” and general on sale begins Friday, June 5 at 10 a.m. (local time) at dragfans.com.

This year's cast includes:

Myki Meeks, Winner of RuPaul's Drag Race Season 18 (2026)
Nini Coco, Runner-up, Drag Race Season 18 (2026)
Darlene Mitchell, Drag Race Season 18 (2026)
Juicy Love Dion, Drag Race Season 18 (2026)
Discord Addams, Drag Race Season 18 (2026)
Crystal Methyd, Drag Race All Stars Season 11 (2026) & Drag Race Season 12 (2020)
Silky Ganache, Drag Race All Stars Season 11 (2026), Drag Race All Stars Season 6 (2021), Drag Race Season 11 (2019)

“A Drag Queen Christmas” is the world's premiere holiday drag showcase and a sensational theatrical experience that delivers high camp, over-the-top lip-sync performances, side-splitting comedy, elaborate costumes, Broadway-style staging, and a whole lot of heart—something we all seek during the chaos of the holiday season. With plenty of spectacular surprises in store, the show offers audiences a chance to see drag queens at the top of their game perform showstopping numbers of epic holiday proportions on revered theater stages across America. Each year, “A Drag Queen Christmas” provides an annual tradition for folks from all walks of life to come together and connect, find community, and celebrate the season with joy and laughter.

This dazzling, 18+ holiday extravaganza runs two hours and offers fans the chance to add-on a VIP Meet & Greet Experience—including early access to the venue, photos with the queens on stage, autographs, and exclusive tour merchandise.

A Drag Queen Christmas 2026 Tour Dates:

November 11 - Detroit, MI (Fisher Theatre)

November 12 - Rochester, NY (Kodak Center)

November 13 - Rutland, VT (Paramount Theatre)

November 14 - Portland, ME (Merrill Auditorium)

November 15 - Boston, MA (Emerson Colonial Theatre)

November 17 - Red Bank, NJ (Count Basie Center for the Arts)

November 18 - Morristown, NJ (Mayo Performing Arts Center)

November 19 - Washington, DC (Warner Theatre)

November 20 - Durham, NC (Durham Performing Arts Center)

November 21 - Wilmington, NC (Wilson Center - Cape Fear Community College)

November 22 - Philadelphia, PA (Fillmore)

November 24 - Pittsburgh, PA (Byham Theater)

November 25 - Columbus, OH (Palace Theatre)

November 27 - Chicago, IL (Riviera Theatre)

November 28 - Appleton, WI (Fox Cities Performing Arts Center)

November 29 - Omaha, NE (Orpheum Theater)

November 30 - Oklahoma City, OK (The Criterion)

December 1 - Des Moines, IA (Hoyt Sherman Place)

December 2 - Kansas City, MO (Uptown Theater)

December 4 - Denver, CO (Paramount Theatre)

December 5 - Salt Lake City, UT (Kingsbury Hall)

December 7 - Seattle, WA (Moore Theatre)

December 9 - Sacramento, CA (Channel 24)

December 10 - San Francisco, CA (Golden Gate Theatre)

December 11 - Stockton, CA (Bob Hope Theatre)

December 12 - Los Angeles, CA (The Wiltern)

December 13 - Santa Rosa, CA (Luther Burbank Center)

December 15 - Mesa, AZ (Mesa Arts Center)

December 16 - Tucson, AZ (Fox Tucson Theatre)

December 17 - El Paso, TX (Plaza Theatre)

December 19 - Austin, TX (ACL Live at The Moody Theater)

December 20 - Dallas, TX (Winspear Opera House)

December 21 - Wichita, KS (Orpheum Theatre)

December 22 - St.Louis, MO (The Factory)

December 23 - Knoxville, TN (Tennessee Theatre)

December 26 - Tampa Bay, FL (Straz Center for the Performing Arts)

December 27 - Fort Myers, FL (Barbara B. Mann Performing Arts Hall)

December 28 - West Palm Beach, FL (Kravis Center for the Performing Arts)

December 29 - Jacksonville, FL (Florida Theatre)

Contest: Win Tickets to THE MONSTERS at La Jolla Playhouse

Mon, 01 Jun 2026 18:51:23 PST

Enter for a chance to win a pair of tickets to The Monsters at La Jolla Playhouse. BroadwayWorld is giving away a pair of tickets to two winners.

For years, LIL has observed her estranged brother from the shadows, studying every punch he throws. BIG, an aging but respected force in the local mixed martial arts circuit, remains unaware his little sister has been tracking his career from afar… until she appears unexpectedly on his doorstep.

“The Monsters hits hard and hugs harder… For anyone who grew up with siblings, it might revive the urge to bust out the couch forts and start pretending all over again.” San Francisco Chronicle Award-winning playwright Ngozi Anyanwu writes and stars alongside Sullivan Jones (HBO’s The Gilded Age) in this West Coast premiere of a warm-hearted and action-charged sibling story that grapples with the fight to build a life you can be proud of.

Raw and riveting, The Monsters delivers an emotional knockout. Begins June 2 at La Jolla Playhouse. For more information on The Monsters, click here.

SONIC LIVE IN CONCERT to Launch Global Tour With US and UK Premieres

Wed, 27 May 2026 20:59:39 PST

As Sonic the Hedgehog celebrates 35 years as one of the most iconic video game franchises of all time, Senbla and SEGA today announced Sonic Live In Concert (www.sonicliveinconcert.com). This new concert experience brings the music and moments of the beloved video games to the stage.

Featuring iconic moments and music from the very first game in 1991 through today, the production will debut in the U.S. at the Dolby Theatre in Hollywood on September 26, 2026, before making its European premiere at London's Eventim Apollo on September 30. The U.S. tour will visit more than 30 cities nationwide, and a UK tour will follow in February 2027. More European dates will be announced at a later time. Tickets will go on sale May 29, 2026, with pre-sale tickets going on sale on May 28, 2026.

As part of a global rollout celebrating the franchise's milestone anniversary, Sonic Live In Concert features the most recognizable music from the Sonic universe, performed by a live ensemble alongside rock musicians, vocalists, and electronic elements. The setlist includes fan-favorite tracks and an incredible array of music from the very first game through to today accompanied by synchronized HD footage of iconic levels, moments and boss battles from the franchise. Audiences can expect musical Easter eggs woven into the arrangements, adding an extra layer of discovery that brings Sonic's world vividly to life on stage.

The concert also highlights the creative legacy behind Sonic's music from legendary composers Jun Senoue and Tomoya Ohtani, whose work has helped define Sonic's sound across generations.

"Sonic has some of the most distinct and celebrated music in gaming," says Ollie Rosenblatt, CEO of Senbla. "We wanted to create a live show that stays true to what the fans love about Sonic's music, from the electronic and melodic themes to high-energy rock."

“Music has always been a core part of Sonic's identity, shaping how fans experience this world across generations," said Ivo Gerscovich, Chief Business & Brand Officer at SEGA of America, Inc. "With this concert, we're looking forward to celebrating that legacy in a live setting; bringing together the energy, emotion, and creativity of Sonic's music in a way that both longtime fans and new audiences can enjoy together.”

Since his debut in 1991, Sonic the Hedgehog has become a global entertainment icon spanning video games, film, television, and consumer products. With renewed momentum driven by recent film releases, new game titles, and a global brand campaign tied to the 35th anniversary, the franchise continues to reach new generations of fans worldwide.

The performance schedule includes:

September 20, 2026 – Spokane, Washington – First Interstate Center for the Arts
September 22, 2026 – Seattle, WA – Paramount Theatre (preview)
September 23, 2026 – Portland, OR – Keller Auditorium (preview)
September 25, 2026 – San Diego, CA – San Diego Civic Theatre (preview)
September 26, 2026 – Hollywood, CA – Dolby Theatre
September 27, 2026 – Riverside, CA – Fox Performing Arts Center
September 29, 2026 – Mesa, AZ – Mesa Arts Center - Ikeda Theater
September 30, 2026 – London, U.K. – London Eventim Apollo
October 1, 2026 – Las Vegas, NV – Resorts World Theatre
October 2, 2026 – Fresno, CA – Saroyan Theatre
October 3, 2026 – San Jose, CA – San Jose Civic
October 4, 2026 – Reno, NV – Grand Theatre at The Grand Sierra Resort & Casino
October 6, 2026 – Denver, CO – Temple Hoyne Buell Theatre
October 8, 2026 – Irving, TX – The Pavilion at Toyota Music Factory
October 9, 2026 – Houston, TX – Bayou Music Center
October 10, 2026 – San Antonio, TX – Boeing Center at Tech Port
October 11, 2026 – Oklahoma City, OK – The Criterion
October 13, 2026 – Wichita, KS – Orpheum Theatre
October 15, 2026 – Omaha, NE – Orpheum Theater
October 16, 2026 – Peoria, IL – Prairie Home Alliance Theater
October 17, 2026 – Louisville, KY – The Louisville Palace Theatre
October 18, 2026 – St. Louis, MO – The Factory
October 19, 2026 – Nashville, TN – Ryman Auditorium
October 20, 2026 – Mobile, AL – Saenger Theatre
October 22, 2026 – Brandon, MS – City Hall Live
October 23, 2026 – Huntsville, AL – VBC Mark C. Smith Concert Hall
October 24, 2026 – Atlanta, GA – Fox Theatre
October 25, 2026 – Greensboro, NC – Steven Tanger Center for Performing Arts
October 27, 2026 – Charlotte, NC – Ovens Auditorium
October 28, 2026 – North Charleston, SC – North Charleston Performing Arts Center
October 29, 2026 – Jacksonville, FL – Florida Theatre
October 30, 2026 – St. Petersburg, FL – Duke Energy Center for the Arts - Mahaffey Theater
October 31, 2026 – Fort Lauderdale, FL – Broward Center for the Performing Arts - Au Rene Theater
November 1, 2026 – Orlando, FL – Walt Disney Theater at Dr. Phillips Center for the Performing Arts
February 17, 2027 – Glasgow, UK – Royal Concert Hall
February 18, 2027 – Edinburgh, UK – Usher Hall
February 19, 2027 – Manchester, UK – Bridgewater Hall
February 20, 2027 – Birmingham, UK – Symphony Hall

For more information, tour dates, and tickets, visit www.sonicliveinconcert.com.

JEKYLL & HYDE to Open at Rose Center Theater

Tue, 26 May 2026 20:52:41 PST

Rose Center Theater has announced the full cast of its upcoming production of Jekyll & Hyde, Frank Wildhorn's landmark Broadway musical thriller, on stage June 12-28, 2026 in Westminster, CA.

Matt Bartosch leads the company in the dual role of Henry Jekyll and Edward Hyde, joined by Melissa Cook as Lucy Harris and Kristin Caputo as Emma Carew. The full principal company includes Vincent Aniceto as Gabriel John Utterson, Patrick O'Connor as Sir Danvers Carew, Benjermin Tietz as Simon Stride, Kevin Arnold as Lord Savage, Erik Duane as General Lord Glossop, Randall Goddard as Sir Archibald Proops, Trevin Stephenson as Bishop of Basingstoke, Kennon Wolff as Poole, Meredith Woodson as Lady Beaconsfield, Bernadette Colette Peters as Nellie, and Jerred Yeash as Spider.

The ensemble includes Katie Agrela, Maya Albarian, Nate Andreas, Cherie Aniceto, Sandra Aniceto, Vincent Aniceto, Kevin Arnold, Noah Chin, Erasmus Conway, Malia Daniels, Ray Davis, Erica Duane, Susann Edeson, Hannah Fan, Winnie Felton, Madisson Harkey, Emma Higginbotham, Gina Higginbotham, Chloe Hubbard, Ari Ingwerson, Kyleah Jackson, Scott Juhl, Cammie Kohlenberger, Nathan Mandrup, Luke Martucci, Jillian Matthews, Kylie Matthews, Ainsley McClure, Anna Miars, Carmela Miars, Meelod Nawabi, Aselle Nova, Noah Reitz, Cat Sacksteder, Elizabeth Seminario, Elena Shumaker, Michele Shumaker, Naomi Smith, Bella Tafua, Punawai Tietz, Alex Vaz, Haven Watts, and Bri Wilson.

The production is directed and musically directed by Tim Nelson, with choreography by Diane Makas and Jennifer Matthews. Jekyll & Hyde features music by Frank Wildhorn and book and lyrics by Leslie Bricusse, based on the novella by Robert Louis Stevenson.

Performances run June 12-28, 2026 at the Rose Center Theater, 14140 All American Way, Westminster, CA 92683. Evening performances Friday and Saturday at 7:30 PM, matinees Sunday at 2:00 PM. Tickets range from $20-$28. The Rose Gala, a fundraising evening featuring a grand lobby reception and post-show cast meet & greet, takes place Saturday, June 13 at 6:30 PM with tickets at $60.

The Lido Theater to Launch Live Entertainment Series in Newport Beach

Fri, 22 May 2026 14:57:54 PST

The Lido Theater, Newport Beach's iconic, recently restored Art Deco venue, is ushering in a new era of live entertainment, debuting an ever-expanding lineup of concerts and comedy with shows planned through October 2026. Operated by Hollywood Producer Joseph "McG" Nichol and Jordan Otterbein of River Jetty Restaurant Group, which took over operations in 2024, the theater now hosts regular live music performances and nationally touring comedians, in addition to weekly movie showings, further cementing its role as a cultural hub in coastal Orange County.

Blending its Golden Age Hollywood roots with modern programming, The Lido Theater's live entertainment series reflects McG's vision to create a dynamic, elevated venue that brings together music, film and community. "My career started in Newport Beach as a music producer and video director, and The Lido represents the perfect intersection of everything I love-music, movies and hospitality," said the Newport Beach native. "We're building something special here, with live performances that feel intimate, nostalgic and exciting all at once."

Since launching its renewed live entertainment programming, The Lido Theater has already welcomed many high-profile performers to its stage, including the internationally renowned Gipsy Kings, Sugar Ray, Chris Isaak and Dwight Yoakam. Reflecting the strong demand for its growing entertainment offerings, the theater recently added a second David Spade performance on June 25 after his original June 28 show sold out. The growing roster of acclaimed artists reflects the venue's emergence as a sought-after destination for live entertainment in Orange County.

Inside the beautifully restored Lido Theater, every seat feels close to the stage, creating an intimate, electric experience for concerts, comedy and film alike. With no drink minimums and convenient parking, it offers a refreshingly accessible and effortless night out in Newport Beach.

Summer-Fall 2026 Live Entertainment Schedule

With more shows to be announced, the current lineup includes:

The Long Run - Eagles Tribute: June 20, 2026
Hot August - Neil Diamond Tribute: June 27, 2026
David Spade - I Got a Feel for It: June 25 & 28, 2026
Pat McGann: July 16, 2026
Imagine Benatar - Pat Benatar Tribute: August 1, 2026
Prince Again - Prince Tribute: August 7, 2026
Dog N Butterfly - The Heart Experience: August 8, 2026
Billy Gardell - Less is More: August 22, 2026
Margaret Cho - Choligarchy: October 9, 2026
Hinder - Back to Life: October 11, 2026

From celebrated tribute performances and nationally touring artists to headline comedy acts, the programming is designed to appeal to a wide audience while honoring the theater's legacy as a premier destination for entertainment since 1939.

Located in Via Lido Plaza and near Lido Marina Village, The Lido Theater is part of a growing entertainment, dining and hospitality district, offering guests a unique, walkable experience in the heart of Newport Beach.

JEKYLL & HYDE to Open at Rose Center Theater

Wed, 20 May 2026 19:18:55 PST

This June, Jekyll & Hyde the Musical will come to The Rose Center Theater, for a limited nine-performance engagement, June 12 through June 28, 2026.

Based on Robert Louis Stevenson's iconic novella, with book and lyrics by Leslie Bricusse and music by Frank Wildhorn, Jekyll & Hyde follows Dr. Henry Jekyll, a brilliant and compassionate physician consumed by an audacious dream: to rid humankind of its darkest impulses. When Jekyll dares to test his dangerous serum on himself, that dream becomes a nightmare.

What emerges is Edward Hyde: a terrifying alter ego of unrestrained passion and violence. As Hyde's power grows and Jekyll's grip on reality shatters, two women hold his fractured soul in the balance. Emma, the woman he vows to cherish. Lucy, the woman Hyde cannot resist. Their fates intertwine in a heart-pounding struggle between love and lust, hope and horror, good and evil.

Frank Wildhorn's score includes some of the most celebrated songs in the Broadway canon: "This Is the Moment," "Someone Like You," "A New Life," and "Confrontation."

At the Rose Center Theater in Westminster, CA, they come to life with a cast of Orange County's finest performers under the direction and musical direction of Tim Nelson, with choreography by Diane Makas and Jennifer Matthews.

PERFORMANCE SCHEDULE

Jekyll & Hyde the Musical runs June 12-28, 2026 at Rose Center Theater, 14140 All American Way, Westminster, CA 92683. Evening performances are Fridays and Saturdays at 7:30 PM. Sunday matinees are at 2:00 PM.

Friday, June 12 at 7:30 PM - Opening Night
Saturday, June 13 at 6:30 PM - The Rose Gala, An Evening with Jekyll & Hyde
Sunday, June 14 at 2:00 PM
Friday, June 19 at 7:30 PM
Saturday, June 20 at 7:30 PM
Sunday, June 21 at 2:00 PM
Friday, June 26 at 7:30 PM
Saturday, June 27 at 7:30 PM
Sunday, June 28 at 2:00 PM - Final Performance

TICKETS

Tickets for Jekyll & Hyde the Musical at Rose Center Theater are on sale now. Adult: $28, Senior (65+): $24, Student: $24, Military & First Responder: $24, Child (10 & Under): $20. Fees apply at checkout. Group rates are available for parties of 16 or more. Contact boxoffice@rosecentertheater.com for group bookings.

Recommended for audiences ages 15 and up. This production contains mature themes including dark psychological content, violence, and adult situations. Run time is approximately 2 hours and 15 minutes, plus one intermission.

THE ROSE GALA - AN EVENING WITH JEKYLL & HYDE

Opening weekend includes one of Orange County's most elegant theatrical events of the season: The Rose Gala, on Saturday June 13 at 6:30 PM. The evening begins with a grand lobby reception featuring hors d'oeuvres, wine, themed cocktails, and raffle prizes, followed by a full performance of Jekyll & Hyde and a post-show cast meet & greet.

Gala tickets are $60. All proceeds directly support Rose Center Theater's mission to bring affordable, high-quality performing arts to the Orange County community. Seating and reception space are limited. Early booking is strongly recommended.

THE NOTEBOOK North American Tour Adds 26 Cities to 2026-27 Route

Tue, 19 May 2026 08:13:15 PST

The North American Tour of THE NOTEBOOK hasannounced engagements for the 2026-27 season, adding 26 cites to the previously announced route, including stops in Atlanta, Boston, Dallas, and Houston. The tour began performances on September 6, 2025, at Playhouse Square in Cleveland, Ohio, and has welcomed over 500,000 patrons to date.

Read the reviews for the touring production of The Notebook.

Allie and Noah, two people from different worlds, share a lifetime of love despite the forces that threaten to pull them apart in a deeply moving portrait of the enduring power of love. Based on the book that has sold millions of copies worldwide and a film that is one of the highest-grossing romantic dramas of all-time, the musical adaptation of THE NOTEBOOK played Broadway at the Schoenfeld Theatre from March 2024 to December 2024 following a critically acclaimed world premiere engagement at Chicago Shakespeare Theater in the fall of 2022.

THE NOTEBOOK features music and lyrics by multi-platinum singer-songwriter Ingrid Michaelson and a book by playwright Bekah Brunstetter (writer and producer on NBC's “This Is Us,” The Cake). The production is directed by Michael Greif (Dear Evan Hansen, Next to Normal, RENT) and Schele Williams (Aida, The Wiz), with choreography by Katie Spelman (Associate Choreographer on Moulin Rouge! The Musical).

The creative team for the tour includes scenic design by David Zinn and Brett J. Banakis, costume design by Paloma Young, lighting design by Ben Stanton, sound design by Nevin Steinberg, hair and wig design by Mia Neal, and projection design by Lucy Mackinnon. The production's music supervisor is Carmel Dean, who also collaborated on arrangements with Ingrid Michaelson and on orchestrations with John Clancy, and the music director is Tina Faye. Casting by The Telsey Office, Patrick Goodwin, CSA.

The production was recognized with three 2024 Tony Award nominations (Best Book of a Musical, Best Performance by an Actress in a Leading Role in a Musical, Best Performance by an Actor in a Leading Role in a Musical), Drama League Award nominations for Outstanding Production of a Musical, two Distinguished Performance Awards and the Founders Award for Excellence in Directing, Drama Desk Award nominations for Outstanding Featured Performance in a Musical, and an Outer Critics Circle Award nomination for Outstanding Lead Performer in a Broadway Musical.

2026-2027 Tour Dates:

Detroit, MI — Fisher Theatre
September 22 – October 4, 2026

Dayton, OH — Schuster Center
October 6 – 11, 2026

Grand Rapids, MI — DeVos Performance Hall
October 13 – 18, 2026

East Lansing, MI — Wharton Center
October 27 – November 1, 2026

Richmond, VA — Altria Theater
November 3 – 8, 2026

Pittsburgh, PA — Benedum Center
November 10 – 15, 2026

Schenectady, NY — Proctors
December 1 – 6, 2026

Boston, MA — Emerson Colonial Theatre
December 8 – 20, 2026

Oklahoma City, OK — Civic Center Music Hall
December 29, 2026 – January 3, 2027

Houston, TX — Hobby Center
January 5 – 10, 2027

Dallas, TX — Winspear Opera House
January 12 – 24, 2027

New Orleans, LA — Saenger Theatre
January 26 – 31, 2027

Hershey, PA — Hershey Theatre
February 3 – 7, 2027

Providence, RI — PPAC
February 9 – 14, 2027

Rochester, NY — Auditorium Theatre
February 16 – 21, 2027

Fayetteville, AR — Walton Arts Center
February 24 – 28, 2027

Huntsville, AL — Von Braun Center
March 2 – 7, 2027

Ft. Lauderdale, FL — Broward Center
March 9 – 14, 2027

Ft. Myers, FL — Barbara B. Mann Hall
March 16 – 21, 2027

Naples, FL — Artis—Naples
March 23 – 28, 2027

North Charleston, SC — North Charleston PAC
March 30 – April 4, 2027

Birmingham, AL — BJCC Concert Hall
April 6 – 11, 2027

Atlanta, GA — Fox Theatre
April 13 – 18, 2027

Tucson, AZ — Centennial Hall
April 27 – May 2, 2027

San Jose, CA — Center for the Performing Arts
May 4 – 9, 2027

Sacramento, CA — SAFE Credit Union PAC
May 11 – 16, 2027

Photos: THE RETURN OF ZORRO World Premiere At The Maverick Theater

Sun, 17 May 2026 22:12:52 PST

The Return of Zorro is written by Andrew Pinon and Inspired by “The Curse of Capistrano” by Johnston McCulley. It features an original score by Kyle Reinhart and is produced & directed by Brian Newell. Check out the photos below!

A hero who’s many adventures took place here in Orange County. Created by pulp novelist, Johnston McCulley back in 1919. Zorro is the masked cape crusader that DC’s Batman was based on. A hero for the people, a champion for justice. His blade, feared by his enemies.
His mark a symbol against tyranny.

The cast features: Andrew Pinon, Justyn Gonzalez, Liz Alvarado, Alexandra Young, KC Mercer, Kevin Currie, Glenn Freeze, Edward Bangasser, Jose Martinez, Sage Forsythe, Chanelle Rose Leva, Sean Coutu, John Castro and Marcus McKinstry. Stunt Fighters include: Desmond Guerrero, Jonathon Barajas, Riley Mills, Brian Keosann and Ryan Swderski.

"I’ve wanted to create an original Zorro production ever since I started the Maverick. The tale of Zorro is deeply rooted in Southern California history—in fact, his origins are here in Orange County at the Mission San Juan Capistrano, during the earliest years of California statehood. It was a time when the land was lush and prosperous, but still very much apart of the wild west. Law and order was often left in the hands of the powerful who could be corrupt," stated Brian Newell.

The Return of Zorro is currently playing now through June 7 at the Maverick Theater located at 110 E. Walnut Avenue Unit B, Fullerton CA. Tickets can be purchased at the Maverick Theater's website.

Don Diego Vega (Andrew PI on) returns home.

Felina (Alexandra Young) and Alejandro (Justyn Gonzalez) confide in one another.

Diego (Andrew Pinon) trains Alejandro (Justyn Gonzalez) for battle.

Padre Felipe (K.C. Mercer) answers the door to the mission as Lieutenant Braggs (Sean Coutu) knocks.

Alejandro (Justyn Gonzalez) defends the mission from renegades (Brian Keosann and Desmond Guerrero).

Renegade Yessika (Sage Forsythe) and Two Hawks (Chanelle Rose Leva) face off.

Felina (Alexandra Young) defends herself agains Yessika (Sage Forsythe).

Hunter and renegade, Yessika (Sage Forsythe) attacks Yaqui warrior, Two Hawks (Chanelle Rose Leva).

Review: South Coast Repertory Presents West Coast Debut of FREMONT AVE.

Thu, 14 May 2026 17:00:47 PST

For its annual Pacific Playwrights Festival—which celebrates new plays in every conceivable stage of development—OC's Tony-winning South Coast Repertory is currently presenting a poignant, truly engrossing West Coast Premiere production of playwright Reggie D. White's multi-generational family dramedy FREEMONT AVE. on its Costa Mesa main stage through May 23, 2026. The engaging three-act play which was first workshopped and developed at the theater's 2024 Festival and is now coming to life nightly as a co-production with DC's Arena Stage.

Beautifully acted, engagingly riveting, and populated with impactful characters, White's thoughtfully sprawling and emotionally layered new play—directed by Lili-Anne Brown—delivers an ambitious, deeply affecting examination of generational legacy, Black identity, masculinity, and the elusive pursuit of emotional healing.

Set almost entirely within the walls of a modest yet refined suburban home in Southern California, the touching, and, often times, quite humorous play unfolds across multiple decades, chronicling the intersecting—and consequential—lives of three generations of African-American men connected not only by blood, but by inherited silence, buried resentment, generational trauma, and a complicated yearning for deep connection.

What initially presents itself as a straightforward (and rather lengthy) domestic drama—with even slight hints of intriguing soap-y tendencies—the play gradually reveals itself to be something far more expansive and nuanced: a richly textured meditation on family, memory, and the heavy, emotional costs of survival within familial expectations that have been influenced by environmental, cultural, and societal demands—and how those costs traverse generations.

JERRIKA HINTON and Bradley Gibson. Photo by Scott Smeltzer.

Even more absorbing is the play's undeniable, palpable way of being deeply relatable, regardless of an observer's age, cultural or socio-economic background.

From the moment FREMONT AVE. begins, I am immediately drawn into this world of White's creation, one that apparently has allusions to the author's personal experiences. From Tim Mackabee's gorgeous, richly evocative set design to the use of era-specific music cues (designed by André Pluess) and decade defining threads (designed by Jos N. Banks) that adorn the cast, the time-spanning aspect of the play's narrative bathes audiences in triggering nostalgia. Its memorable soundtrack—that spans from 60's jazz, to 90's hip hop and R&B—admittedly made me smile and bask in the memories it triggered in my own life.

But this nostalgic trip is one particular family's story and how they got from there to now. Each act takes place during a specific decade, which explores the lives of a family in the late 60's, the early 90's, and, lastly, the 2020's.

Though there's a clear, connective through-line between all three acts, FREEMONT AVE. actually feels like a trilogy of excellent stand-alone plays mashed into one very long play, though with each act being as strong and as provocative as the one that preceded it. The first act traces the origins of a complex romance, the second is a thoughtful study on the realities and challenges of facing adulthood, while the third explores the tumultuous uneasiness of the relationships between fathers and sons. And somehow, the game of Spades becomes each act's unifying gatherer.

Bradley Gibson and JERRIKA HINTON. Photo by Scott Smeltzer.

The play begins in 1968, introducing audiences to the dapper George (the remarkable Bradley Gibson), an upwardly mobile, unmarried African American man approaching the age of 30, and whose recent purchase of a beautiful home on Fremont Avenue in Southern California symbolizes both aspiration and hard-earned dignity that's been duly earned despite existing within a turbulent era of racial tension and societal upheaval that have proven not to be so accommodating to people like him.

A cool nerd, in a way, George carries himself with pride, smarts, and ambition, determined to create stability and opportunity through his education, discipline, and property ownership as he forges ahead with his career as a therapist who, interestingly, uses music as a vital tool of his practice… and, as it turn out, quite a useful tool for his own mental health and creative pursuits as well.

Into his carefully ordered, meticulously curated world enters Audrey (the deliciously no-nonsense JERRIKA HINTON), a witty, strong-willed married woman George hires to help care for his bachelor pad, as she herself raises her own young son Robert with a ne'er-do-well of a husband we don't meet (but only hear about fleetingly).

Audrey, for her part, finds George an intriguing, somewhat annoying oddity—someone she's never encountered before amongst her admittedly limited sphere of the world.

Right away, we see an overt cautiousness and vulnerability spilling out of Audrey like a boiling pot, which George confronts with kindness and respect, while often insisting she accepts both his gestures with the promise of not having any hidden agendas. She accepts the housekeeping position offered with trepidation, even though she knows deep down it's a pretty great gig considering her alternatives.

Their dynamic initially crackles with playful combativeness and, yes, even bits of flirtatious sparring, but White skillfully allows their relationship to evolve gradually and organically into one rooted in mutual understanding, genuine friendship, and—as tenderly portrayed through awkward smiles and frustrated sighs—emotional dependence. And, yes, the occasional game of Spades.

Bradley Gibson, Stanley Andrew Jackson, Wildlin Pierrevil and Jeffrey Rashad. Photo by Scott Smeltzer.

We soon learn that things at home for Audrey aren't so fun.

Her unfulfilling marriage seems to be teetering on the brink, even as she continues to work multiple jobs to make ends meet for her family—a fact of her life that becomes a nagging demon scratching at her back as she observes George's much more easy-going, posh lifestyle filled with leisurely sessions composing songs on his piano.

White's dialogue in these early scenes is particularly intriguing, balancing humor, tenderness, and heartbreak with remarkable fluidity while keeping audiences curious as to where their unique relationship will go next. The exchanges feel lived-in and vividly authentic, often revealing layers of vulnerability beneath outward bravado and acerbic retorts.

Soon the house itself also becomes more than just the play's physical location—it transforms into a symbolic container sheltering the hopes, disappointments, and unresolved wounds of everyone who steps into it, even for a spell—a theme that will carry over to the next two acts that follow.

Predictably, George and Audrey eventually move beyond the safety of their understood employer-employee dynamic—something we, of course, see coming—yet, somehow, their journey's outcome is still a delightful surprise when it finally transpires after a lengthy "will-they, won't they."

Eventually, through a series of transitional musical vignettes that highlight some of the most iconic soul, hip-hop, and R&B of its respective era, the narrative then leaps ahead into the early 1990s, where we meet Audrey's son Robert (also played by Gibson)—now a grown adult—struggling beneath the weight of unrealized ambitions and mounting insecurities, much of which can probably be traced to the gargantuan expectations set forth by his religious mother Audrey and the successful George, who has become his stepfather many years before.

Still tethered emotionally and physically to the same Fremont Avenue home despite having graduated college, Robert spends much of his waking hours feeling stuck in an inescapable rut. He finds some relief, though, whenever gathered around a card table with his lifelong friends Frank (Wildlin Pierrevil), Tony (Jeffrey Rashad), and Walter (Stanley Andrew Jackson)—all of whom seem to be navigating adulthood much better and more successfully than Robert.

JERRIKA HINTON. Photo by Scott Smeltzer.

Like most close friends, they engage in marathon games of Spades filled with relentless trash talk, shared laughter, debates about the state of the world, and competitive camaraderie. Yet beneath the surface-level humor lies something more painful: a generation of Black men grappling with societal expectations, economic frustrations, and emotional repression all happening in post–Rodney King Los Angeles.

For Robert in particular, he feels defeated after his umpteenth time failing to pass the Bar exam. He is riddled with guilt that his failures continually disappoint his parents.

These scenes prove to be the play's most interesting and complex as White demonstrates a notable finesse for writing rhythmic, percussive dialogue with authentic vernacular, and for portraying the real dynamics of male friendship, allowing conversations to ebb and flow with natural spontaneity. The banter feels unscripted and effortless, but each joke, jab, and insult subtly exposes deeper anxieties surrounding each friend's personal tie to masculinity, failure, fatherhood, and identity. What emerges is a riveting dramatization of repressed men conditioned to weaponize humor as emotional self-defense while also trying to show care and concern without seeming too weak.

By the time the play arrives at its final act, set in the present day, the story shifts focus toward Joseph (again played by Gibson), Robert's grown son/George's grandson, whose return home to Fremont Avenue for a tragic family event forces long-suppressed tensions with his entire family to finally explode to the surface—in both hilarious and heart wrenching ways. As a gay Black man pursuing a career in the performing arts, Joseph represents both a continuation of and a stark departure from the proud generations before him. His presence disrupts the inherited emotional patterns that have long defined this family's dynamic, compelling painful yet necessary confrontations between fathers and sons.

Here, White broadens the thematic scope of the play considerably, interrogating not only racial and generational identity, but also queerness, vulnerability, and the evolving definitions of Black masculinity in modern times. We soon witness Joseph's passionately volatile relationship with his partner Damon (the terrific Galen J. Williams), who helps introduce some of the play's more tender moments, providing a striking contrast to the emotional guardedness expressed by earlier generations portrayed in the play.

Bradley Gibson, Doug Brown and Kevin Mambo. Photo by Scott Smeltzer.

With the talented Mr. Gibson now playing a third distinct young member of George's family, we soon meet the much more mature versions of both George and Robert, played with spirited gusto by Doug Brown and Kevin Mambo, respectively, placing three generations under one roof. The third act truly shines when these three interact, and even more so when Williams join them in an acting quartet that is a fitting highlight to a superb evening of theater.

Easily one of my favorite plays of the year so far, FREMONT AVE. is another work-in-progress play borne out of SCR's excellent creative laboratory that will likely excel for more future productions. Though its lengthy running time could use extensive trimming, I never once felt bored or felt compelled to look at my watch during the entire play (even though my internal organs were aching for an intermission as I was suffering through the Red Bull I drank during the first act). Despite seemingly endless speeches and exchanges, White's mastery of dialogue keeps audiences perked up and hanging on to every word.

But what truly makes the play so compelling and attention-span grabbing is White's refusal to simplify any of these characters into easy archetypes or ideological stand-ins. Even the most flawed individuals are afforded humanity and emotional complexity. No one really exists purely as hero or a bad guy. Instead, White paints each character as someone simultaneously shaped and wounded by love, and, therefore, acts accordingly so. Of course, it goes without saying (yet bears repeating) that, at the same time, these characters of color are, as expected, also similarly shaped and wounded by the kind of world that surrounds them.

Stylistically, the play evokes echoes of the great American family dramas of the past—and even some melodramatic episodic narratives on TV—while still feeling distinctly contemporary in voice, rhythm, and structure.

Though many audiences will likely compare his work to a legend like August Wilson in terms of the play's generational scope and cultural specificity, White's writing, to wit, possesses its own unique muscular cadence and emotional intimacy that feels both comfortably familiar and remarkably fresh at the same time. His script—coupled with Brown's thoughtful direction—seamlessly straddles the thin line between laugh-out-loud humor and deeply affecting emotional revelations without ever feeling tonally inconsistent.

Bradley Gibson and Galen J. Williams. Photo by Marc J. Franklin.

But, of course, at times, the sheer ambition of such a theatrical endeavor—as evidenced by the length of its first two acts—threatens to overextend itself.

White tackles an enormous array of themes within FREMONT AVE: race, sexuality, addiction, generational trauma, rules of masculinity, religion, respectability politics, economic frustration, and emotional inheritance. Cramming that many overarching ideas into a single play means not every narrative thread lands with equal potency. Certain moments in the latter portion of the play occasionally veer toward thematic overstatement, particularly when characters articulate emotional revelations somewhat more directly than earlier scenes where characters were less outwardly expressive and more subtle.

Even so, those minor shortcomings hardly diminish the cumulative power of this truly impressive work. What lingers most profoundly after FREMONT AVE. is the audience's aching compassion and empathy for the play's characters who we witness trying—and often failing—to communicate love in ways they themselves were never taught or never overtly experienced. Some of us, ahem, may even relate pretty closely to such sentiments first hand, making the play exceedingly resonant.

Ultimately, FREMONT AVE. is a poignant and beautifully observed exploration of the emotional architecture of a family, and, more pointedly, a Black family. Through sharp dialogue, richly drawn characters, and an expansive multigenerational framework, White has crafted an enjoyably thoughtful, engaging play that feels at once intimate but also epic in scope. It is a work that understands how homes can store and absorb memory, how silence and surrender can become inherited behavior, and how healing sometimes begins simply by finally speaking out loud the unvarnished truths generations have struggled to identify.

By the time we reach FREMONT AVE's final fade out, White's play resonates not merely as a relatable family drama, but also as a quietly profound reflection on legacy, identity, and the fragile yet enduring possibility of reconciliation.

In an interview published in the play's program, White states that FREMONT AVE. came about from a fascination with portraying the beauty in "telling the stories of people who went about living their lives quietly and nobly with integrity and honesty… who made mistakes and had big wins or small wins—but didn't shake the world." Funny enough, in setting about that goal with his play, White created a stunningly resonant work of theater that many will laud for a long time to come.

Galen J. Williams, Bradley Gibson, Kevin Mambo and Doug Brown. Photo by Scott Smeltzer.

** Follow this reviewer on Bluesky / Instagram / Twitter X / Threads: @cre8iveMLQ **

Photos by Scott Smeltzer, courtesy of South Coast Repertory.

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Performances of Reggie D. White's FREMONT AVE. at South Coast Repertory continue through May 23, 2026. Tickets can be purchased online at www.scr.org, by phone at (714) 708-5555 or by visiting the box office at 655 Town Center Drive in Costa Mesa.

StageMag Launches Programmable PDF Editor for Digital Theater Programs

Thu, 21 May 2026 10:04:02 PST

StageMag, the digital show program platform from BroadwayWorld, today launched its new PDF Editor to all producers and stage managers using the service. The tool gives editors granular, real-time control over how their digital program renders as a downloadable or printable PDF - the format most often used in lobby printouts, accessibility packets, and press kits.

Until now, the StageMag-to-PDF path was a one-shot export: whatever fit, fit. The new editor turns the export into a configurable surface. Each section of a program including the cast list, song list, director's note, bios, advertisements, sponsor pages, articles, listings and more — can be individually told how to paginate. Editors choose between three strategies per section:

Flow: natural pagination, sections may split across pages.
Own page: start the section on a fresh page.
Fit one page: start fresh and scale the section to occupy the whole page.

A live preview pane re-renders the PDF on every change, so editors see the final printed result as they work rather than guessing and re-exporting.Beyond the strategy picker, the editor exposes a set of advanced controls familiar to anyone who has hand-tuned a long-form print document: hide-element selectors (drop sponsor strips or vestigial nav from the print version), forced page breaks before or after named elements, a draggable section-order list, custom header/footer/watermark text, and a custom-CSS escape hatch for theaters whose programs follow a house style.

The release also includes paper-level controls including US Letter or A4, portrait or landscape, three margin presets, three type scales, and a "booklet" mode that adds a binding gutter for stapled lobby printouts.

The PDF Editor is available now to all StageMag-enabled productions at no additional cost, under the Share PDF tab in the program editor. Existing programs render with sensible defaults; the new controls are opt-in and per-production.

About StageMag

StageMag is BroadwayWorld's digital playbill platform, used by Broadway, Off-Broadway, regional, university, and community theater productions to publish interactive programs that audiences open on their phones from a QR code in the lobby. StageMag is offered as a free service to participating productions.

About BroadwayWorld

Founded in 2003, BroadwayWorld is the largest theater website in the world, covering Broadway, the West End, and theater news, reviews, interviews, and resources across all 50 US states and 45 countries.

Pacific Symphony to Present AMERICA AT 250 Concert Conducted By Alexander Shelley

Thu, 07 May 2026 17:13:55 PST

Pacific Symphony has launched an ongoing celebration of America at 250 with a compelling, multi-media program that blends a beloved classic with an immersive new work.

Gershwin's popular Piano Concerto in F Major uses jazz and blues inspiration to convey the enthusiastic spirit of American life, as performed by audience-favorite Conrad Tao. The concert culminates in the West Coast premiere of American Mosaic, a cinematic musical work designed to be experienced as much as heard. The landmark collaboration between distinguished composer Peter Boyer and photographer Joe Sohm combines their respective bodies of work celebrating America. Blending symphonic music, awe-inspiring imagery from all 50 states and spoken narration, American Mosaic offers a fully immersive, cinematic concert experience across the nation's vast and varied landscape - from sea to shining sea.

"This America at 250 program offers a glimpse at our horizon, as Pacific Symphony readies for a season long celebration of the nation's semi-quincentennial," says Artistic and Music Director Designate Alexander Shelley. "We are joined by one of today's most creative and charismatic American soloists Conrad Tao, to perform a seminal American piano work: Gershwin's Concerto in F. This masterpiece is sandwiched within American music of our own time celebrating the voices of the nation today.

"In Peter Boyer's American Mosaic, we celebrate the United States not only through his majestic new score, but through stunning imagery captured from all 50 states by photographer Joe Sohm and an inspiring live narration by a groundbreaking woman Deja Foxx."

To begin the concerts taking place May 28-30 in the Renée and Henry Segerstrom Concert Hall, Pacific Symphony performs the West Coast Premiere of Inscription II, a compelling and thought-provoking new piece by Diné composer Raven Chacon. Born in Fort Defiance, Arizona within the Navajo Nation, Chacon is the first Native American to win a Pulitzer Prize for Music, for his Voiceless Mass in 2022.

Written for full orchestra, Inscription II examines the national motto E Pluribus Unum as both a symbol of unity and a point of tension. Chacon notes that the music portrays individual instrumental voices gradually converging, suggesting both the power of unity and the risk of losing distinct cultural identities.

"We are very honored to open our concert with Pulitzer Prize winner Raven Chacon's impactful and thought-provoking response to the theme of America 250," continues Shelley. "I was privileged to conduct the world premiere of this work earlier in the year and it left an indelible impression on everyone in attendance. It is an important statement from a vital voice in today's living classical tradition."

Before intermission, acclaimed pianist Conrad Tao joins the orchestra to perform Gershwin's highly popular Piano Concerto in F. First commissioned by Walter Damrosch, the three-movement work masterfully fuses American jazz and blues with classical music and sparks feelings of tradition and optimism. As a defining piece from the early 20th century, the concerto captures the vibrancy and evolving cultural identity of its time, making it a strong compliment to American Mosaic.

American Mosaic showcases the extraordinary collaboration between Sohm and Boyer. The 33-minute work is filled with decades of Americana photography by Sohm, who is called America's photo historian. The visuals are presented in 4K videography and celebrate the people, places and spirit of America. Boyer's orchestral score is heard in 11 continuous movements, and narrated by Deja Foxx, creating an immersive audio-visual experience. Boyer's catalog of American-themed orchestral works, from his Grammy-nominated Ellis Island to Fanfare for Tomorrow from President Biden's Inauguration, is acclaimed for its power to uplift and inspire.

Premiered at the Kennedy Center in Washington D.C., American Mosaic was co-commissioned by six leading American orchestras: the National Symphony Orchestra, Cincinnati Symphony Orchestra for the Cincinnati Pops, Des Moines Symphony, Detroit Symphony Orchestra, Pacific Symphony, and Williamsburg Symphony Orchestra.

"American Mosaic is a musical/visual work that celebrates America's 250th birthday in what I believe is a unique way," describes composer Boyer. "With Joe Sohm's breathtaking video imagery of all 50 states, narration highlighting key aspects of American history, and the emotional power of a great orchestra such as Pacific Symphony, it is hoped that the work will provide audiences with an uplifting experience. As a Southern California-based composer, I'm very excited for its West Coast Premiere performances."

"Having collaborated with Pacific Symphony on a number of memorable occasions over more than 20 years, including the filming of Ellis Island: The Dream of America for PBS' Great Performances series, I'm thrilled to continue this collaboration with these performances of American Mosaic, and to work with incoming Artistic and Music Director Alexander Shelley for the first time," continues Boyer.

The concert titled "Shelley Conducts America at 250," takes place Thursday-Saturday, May 28-30 at 8 p.m. in the Renée and Henry Segerstrom Concert Hall. Enhancing the experience, audiences can attend a free Preview Talk at 7 p.m. and enjoy a post-concert meet-and-greet with Alexander Shelley on Thursday and Friday evenings. Tickets start at $36. For more information or to purchase tickets, call (714) 755-5799 or visit pacificsymphony.org.

Photos: FREMONT AVE. Opens at South Coast Repertory

Wed, 06 May 2026 05:11:54 PST

All new photos have been released from the Opening Night of Fremont Ave. by Reggie D. White, which South Coast Repertory hosted Friday, May 1 on the Segerstrom Stage. Check out the photos below!

The sold-out evening featured appearances from the cast members, including Bradley Gibson ("Partner Track" on Netflix, Simba on Broadway in The Lion King) and Emmy Award-winner Kevin Mambo (Book of Mormon National Tour, "Guiding Light, "Hit & Run," "High Maintenance," "The Good Doctor," "Blacklist," "Happyish," "Soul Food," "One Life to Live," "Law & Order," "Spin City" and "Elementary). Also featured is Marcus Henderson (Get Out, Django Unchained, Pete's Dragon and "The Lincoln Lawyer") and NAACP Orange County Branch President Deirdre Harris.

In 1968, George buys a suburban Southern California home—a stop on his way to something bigger—and hires Audrey as a housekeeper. In 1991, Robert is still living there, itching to start his own life. Thirty years later, Joseph returns home, still struggling with a secret that holds him back. With humor and heart, this multigenerational drama revolves around three Black men, their journeys to choose love and the woman who holds them all together. Performances run through May 23, 2026.

Photo Credit: Jill Huisken/SCR

Jeffrey Rashad, Doug Brown, Stanley Andrew Jackson, Galen J. Williams, JERRIKA HINTON, Bradley Gibson, Kevin Mambo and Wildlin Pierrevil

Isabella Mangahis, Kiya Sakari, ShaYne Powell, Lili-Anne Brown, Jeffrey Rashad, Doug Brown, Stanley Andrew Jackson, Galen J. Williams, JERRIKA HINTON, Bradley Gibson, Jamie Berry, Kevin Mambo, Raven Lorraine, Wildlin Pierrevil, Michael A. Shepperd, playwright Reggie D. White and Jos N. Banks a

Bradley Gibson

Playwright Reggie D. White, NAACP Orange County Branch President Deirdre R. Harris and Britt Samuels

Bill Schenker, SCR Board President Talya Nevo-Hacohen and playwright Reggie D. White

JuCoby Johnson, Quaz Degraft and Jessenia Ingram

Bobby Farsad, Simin Farsad, Ali Rezvani, Suzanne Appel, Sarah Henderson, Marcus Henderson, Brian Hastert and Amy Berryman

Canterbury Consulting Chairman Michael Laven, Cheryl Jensen Laven, Tammi Cluck, SCR Managing Director Suzanne Appel and Canterbury Consulting Founding Director Bob Cluck

Britt Samuels and NAACP Orange County Branch President Deirdre R. Harris

SCR Board President Talya Nevo-Hacohen and Bill Schenker

SCR Board President Talya Nevo-Hacohen, Bill Schenker and Ella and Arkady Serebryannik

Britt Samuels, SCR Trustee Susan Shieldkret, David Dull and Kenneth Samel

SCR Trustee Sarah McElroy, SCR Trustee Tim Kay and SCR Managing Director Suzanne Appel

Larry Cripe, SCR Trustee and Past President Sophie Cripe, SCR Past President Sam Tang and SCR Trustee Tammy Tang

SCR Trustee Sarah McElroy and Elaine and Mike Gray a

Kenneth and Chantelle Labowe

John Castelli and Toni Tartamella

OPERATION MINCEMEAT Reveals 2026-27 Tour Dates and Cities

Thu, 30 Apr 2026 09:12:44 PST

OPERATION MINCEMEAT has announced the full 2026/27 season dates for the North American leg of its world tour. The news comes as OPERATION MINCEMEAT celebrates its 500th performance on Broadway this Saturday, May 2, after hitting 2,000 performances worldwide - now playing simultaneously in the West End, on Broadway, and on tour across the UK. Following the North American leg, further stops on its international journey will include Australia, China, Mexico, and New Zealand.

Read the reviews for the Broadway run here.

Producer Jon Thoday for Avalon said, “Launching our third OPERATION MINCEMEAT production, the North American leg of the world tour, as the show reaches 500 performances on Broadway and passes 2,000 worldwide is incredibly exciting. With its continued international growth and an expanding fanbase, we look forward to welcoming new audiences across the continent.”

The North American leg of the Mincemeat World Tour will launch at the Providence Performance Arts Center (Providence, RI), on September 20, 2026, before crisscrossing North America this upcoming season, with stops including Chicago, Boston, Toronto, Los Angeles, and Washington, DC.

Operation Mincemeat Tour Dates:

Providence, RI – Providence Performing Arts Center
September 20–26, 2026

Chicago, IL – CIBC Theatre
September 29–October 11, 2026

Boston, MA – Colonial Theatre
October 13–25, 2026

Toronto, ON – Theatre TBD
October–December 2026

Philadelphia, PA – Forrest Theatre
December 15–20, 2026

Columbus, OH – Ohio Theatre
January 5–10, 2027

Detroit, MI – Fisher Theatre
January 12–24, 2027

Minneapolis, MN – Orpheum Theatre
January 26–31, 2027

Eugene, OR – Hult Center
February 3–7, 2027

Seattle, WA – 5th Avenue Theatre
February 10–21, 2027

Tempe, AZ – ASU Gammage
February 23–28, 2027

Salt Lake City, UT – Eccles Theatre
March 2–7, 2027

San Francisco, CA – Orpheum Theatre
March 9–28, 2027

Los Angeles, CA – Pantages Theatre
March 30–April 18, 2027

San Diego, CA – Civic Center
April 20–25, 2027

Hartford, CT – Bushnell Center
May 4–9, 2027

Durham, NC – Durham Performing Arts Center
May 11–16, 2027

Greenville, SC – Peace Center
May 18–23, 2027

Fayetteville, AR – Walton Arts Center
May 25–30, 2027

Tampa, FL – Straz Center
June 1–6, 2027

Washington, DC – The National Theatre
June 8–20, 2027

Buffalo, NY – Shea’s Performing Arts Center
June 22–27, 2027

Atlanta, GA – Fox Theatre
July 6–11, 2027

Memphis, TN – Orpheum Theatre
July 13–18, 2027

Fort Worth, TX – Bass Performance Hall
July 20–25, 2027

About Operation Mincemeat

In OPERATION MINCEMEAT: A NEW MUSICAL, it's 1943, and the Allied Forces are on the ropes. Luckily, they've got a trick up their sleeve. Well, not up their sleeve, per se, but rather inside the pocket of a stolen corpse. Equal parts farce, thriller, and Ian Fleming-style spy caper (with an assist from Mr. Fleming himself), OPERATION MINCEMEAT tells the wildly improbable and hilarious true story of the covert operation that turned the tide of WWII.

Written by triple Tony Award nominees SpitLip (comprised of David Cumming, Felix Hagan, Natasha Hodgson, and Zoë Roberts), OPERATION MINCEMEAT began performances on Broadway on February 15, 2025, and continues to play at the historic Golden Theatre (252 West 45th Street), where it has been extended eight times and will soon celebrate its 500th performance. The West End production, which has been playing at the Fortune Theatre since March 29, 2023, is widely recognized as one of the best-reviewed shows in West End history, holding the record for the most five-star reviews for a new musical, with a tally of 131. OPERATION MINCEMEAT has just launched its world tour, beginning with a UK leg before heading across the pond.

Olivier Award nominated Robert Hastie (Standing at the Sky's Edge, National Theatre – Best New Musical Olivier Award winner) will reprise his work for the tour, while Olivier Award nominated Jenny Arnold (Jerry Springer: The Opera, National Theatre) continues as Choreographer. The creative team will include Olivier nominated Set and Costume Designer Ben Stones (Standing at the Sky's Edge), Tony and Olivier winning Lighting Designer Mark Henderson (The History Boys), Tony nominated Sound Designer Mike Walker (Charlie & The Chocolate Factory), Tony nominated Orchestrator Steve Sidwell (Beautiful: The Carole King Musical), and Olivier nominated Music Supervisor Joe Bunker (Spring Awakening). Georgie Staight is Associate Director and Paul Isaiah Isles is Associate Choreographer. Production Stage Management is by Geoff Maus, Casting is by Carrie Gardner, CSA, and General Management is by TT Partners.

OPERATION MINCEMEAT has been nominated for 64 awards since opening at the 77-seat New Diorama Theatre in 2019, winning 13, including Best Musical 3 times, from the Olivier Awards, WhatsOnStage Awards, and Off-West End Awards. On Broadway, the show was nominated for 4 Tony Awards in 2025, including Best Musical. The production won Best Featured Actor in a Musical for Jak Malone's portrayal of Hester Leggatt, who previously won the Olivier Award in the same category. The production has also received nominations for Outstanding Production of a Musical at the Drama League Awards, Outstanding New Broadway Musical at the Outer Critics Circle Awards, Best Musical at the BroadwayWorld Theater Fans' Choice Awards, and Favourite New Musical at the Broadway.com Audience Choice Awards.

RAGTIME Will Launch National Tour in Fall 2027

Wed, 29 Apr 2026 16:00:22 PST

Lincoln Center Theater’s Broadway revival of Ragtime, directed by Kewsong Lee Artistic Director Lear deBessonet, announced today that it will launch a North American Tour in the fall of 2027. The tour will premiere at Shea’s Buffalo Theatre in Buffalo, New York, before continuing onto cities across the U.S. and Canada. Additional tour stops and casting will be announced at a later date.

Lincoln Center Theater’s limited engagement of Ragtime has been extended twice by popular demand with performances now through August 2, 2026. The production set a new box office record at the Vivian Beaumont Theater and was recently nominated foreight Drama Desk Awards, six Outer Critics Circle Awards including Best Revival of a Musical and Outstanding Direction of a Musical (Lear deBessonet), as well as five Drama League Awards including Outstanding Revival of a Musical and Outstanding Direction of a Musical (Lear deBessonet).

“Ragtime is one of the most ambitious musicals ever written, and it feels timelier than ever,” said producers Tom Kirdahy, Kevin Ryan, Robert Greenblatt, and Lamar Richardson in a statement. “What Lear deBessonet and this extraordinary company have created at Lincoln Center Theater is both epic in scale and deeply human. We couldn’t be more excited to share it with communities across North America.”

“It’s a real honor to kick off the North American Tour of Ragtime at Shea’s Buffalo Theatre,” said Buffalo presenter Al Nocciolino. “This is the kind of production people talk about long after the curtain comes down—remarkable in scale and deeply moving. We’re thrilled to welcome it to our stage and proud to share it with our community first.”

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Featuring a Tony Award-winning score by Stephen Flaherty and Lynn Ahrens, Tony Award-winning book by Terrence McNally, and Tony Award-winning orchestrations by William David Brohn, Ragtime weaves fictional narratives with real historical figures and events, creating a rich tapestry that blurs the line between personal struggle and national identity, making history feel both intimate and epic.

The creative team for Ragtime includes Ellenore Scott (choreography), David Korins (scenic design), Linda Cho (costume design), Adam Honoré & Donald Holder (lighting design), Kai Harada (sound design), 59 Studio (projection design), Tom Watson (hair & wig design), Ann James (sensitivity specialist), and The Telsey Office, Craig Burns, CSA (casting).

OH, MARY! Reveals Tour Dates and Cities For 2026-27

Wed, 29 Apr 2026 11:23:47 PST

The North American Tour of Oh, Mary! has announced the dates and cities for its 2026-27 season. The tour of the Tony Award and Olivier Award-winning comedy will tech and launch at The Bushnell in Hartford, Connecticut, with performances beginning September 19, 2026. Casting will be announced at a later date. Check out the full list of tour dates below~

Written by Tony Award and Olivier Award winner Cole Escola and directed by Tony Award winner Sam Pinkleton, Oh, Mary! opened on Broadway on July 11, 2024, and continues to play at the Lyceum Theatre, where it became the first show in the theatre’s 121-year history to gross more than $1,000,000 in a single week. Oh, Mary! has since broken its own box office record twelve times and became the first show of the 2024-25 Broadway season to recoup its investment. Oh, Mary! opened to rave reviews in London’s West End on December 18, 2025.

Oh, Mary! is a dark comedy about a miserable, suffocated Mary Todd Lincoln in the weeks leading up to Abraham Lincoln’s assassination. Unrequited yearning, alcoholism, and suppressed desires abound in this one-act play that finally examines the forgotten life and dreams of Mrs. Lincoln through the lens of an idiot (playwright Cole Escola).

The full creative team for the Broadway production includes dots (Scenic Designer), Holly Pierson (Costume Designer), Cha See (Lighting Designer), Daniel Kluger (Sound Design and Original Music), Drew Levy (Sound Designer), Leah J. Loukas (Wig Designer), Addison Heeren (Props Supervision), and David Dabbon (Musical Arrangements). Casting by Henry Russell Bergstein, CSA.

Oh, Mary! is produced on Broadway by Kevin McCollum & Lucas McMahon and Mike Lavoie & Carlee Briglia with Bob Boyett, The Council, Jean Doumanian Productions, Nicole Eisenberg, Jay Marcus & George Strus, Irony Point, Richard Batchelder/Bradley Reynolds, Tyler Mount/Tommy Doyle, Nelson & Tao, Palomares & Rosenberg, and Showtown Productions.

Tour Dates

September 19–23, 2026
Hartford, CT — The Bushnell

September 29–October 4, 2026
San Diego, CA — San Diego Civic Theatre

October 6–11, 2026
Las Vegas, NV — The Smith Center

October 13–November 1, 2026
San Francisco, CA — Curran Theatre

November 3–8, 2026
Seattle, WA — The Paramount Theatre

November 10–December 6, 2026
Los Angeles, CA — Ahmanson Theatre

December 21, 2026–January 3, 2027
Boston, MA — Emerson Colonial Theatre

January 6–17, 2027
Saint Paul, MN — Ordway Center for the Performing Arts

January 19–February 7, 2027
Chicago, IL — CIBC Theatre

February 9–21, 2027
Washington, DC — The National Theatre

February 23–28, 2027
Detroit, MI — Fisher Theatre

March 9–14, 2027
Philadelphia, PA — Miller Theater

March 16–28, 2027
Charlotte, NC — Blumenthal Arts

March 30–April 4, 2027
Cleveland, OH — Connor Palace

April 6–11, 2027
Tampa, FL — Straz Center

April 27–May 9, 2027
Houston, TX — Hobby Center

May 11–16, 2027
West Palm Beach, FL — Kravis Center

Play Broadway Games Every Day in May and Win a Merch Prize Pack

Wed, 29 Apr 2026 08:30:20 PST

Broadway fans, your daily warm-up just got a whole lot more rewarding. BroadwayWorld is launching the May 2026 Games Challenge - a month-long streak competition open to fans across the U.S., with a $250 merch prize pack featuring merchandise from popular Broadway shows up for grabs.

The challenge runs all 31 days of May 2026 (Eastern Time), and all you need to enter is a free BroadwayWorld account.

How It Works

The rules are simple: play at least one BroadwayWorld game every day in May. That's it. Complete all 31 days and you'll earn one entry to win the prize pack. Tracking is automatic once you're logged in - your progress populates on the challenge page as you play, no manual check-ins required.

Any of these six games count toward your daily credit:

Make-Up Days: Because Life Happens

Miss a day? You're not out of the running. Play all six games in a single day and you'll earn a make-up credit, which automatically forgives your earliest missed day. You can bank up to three make-up credits over the course of the month - so a skipped Tuesday or a busy weekend doesn't have to end your streak. Credits are applied to your missed days in order, oldest first.

Ready to Start Your Streak?

The May 2026 BroadwayWorld Games Challenge runs May 1-31 (Eastern Time) and is open to U.S. residents only.

Click here to get started. Sign in with your free BroadwayWorld account and your tracking begins automatically - no registration beyond that required.

See full rules and regulations here.

MURDER ON THE ORIENT EXPRESS to be Presented at Alchemy Theatre

Mon, 27 Apr 2026 16:53:40 PST

Ken Ludwig's Murder on the Orient Express will be presented at The Virginia De Land Theatre at the Yorba Linda Cultural Arts Center this may.

Step aboard the luxurious, snowbound train in Murder on the Orient Express, where glamour quickly gives way to intrigue. When a shocking murder rocks the journey, legendary detective Hercule Poirot must unravel a web of secrets among a cast of suspicious passengers, each with something to hide. Packed with tension, unexpected twists, and Agatha Christie's signature brilliance, this thrilling whodunit will keep you guessing until the very end.

Join in May 8 to 17th at The Virginia De Land Theatre at the Yorba Linda Cultural Arts Center. Performance will take place on Fridays 7:30pm; Saturdays 2pm and 7:30pm; and Sundays at 2pm.

The cast includes Abel Miramontes as Hercule Poirot, Paul Burt as Monsieur Bouc, Catalina Tan as Mary Debenham, Sawyer Reece Maier as Hector Macqueen, Noah Chin as Michel the Conductor/Head Waiter, Holly Jones as Princess Dragomiroff, Olivia Oakley as Greta Ohlsson, Emily Hood as Countess Andrenyi, Tanya Raisa as Helen Hubbard, Shawn Plunkett as Colonel Arbuthnot/Samuel Ratchett, and Loralee Barlow-Boyes as Production Swing.

The production team includes story by Agatha Christie, playwright Ken Ludwig, director Brian Pirnat, stage manager Jordan Jones, costume design by Courtney Duncan-Schwartz, lighting design by Campbell Hicks, scenic design by Jim Lowe and Liz Doubrovsky, associate scenic design by Mak Stewart, assistant stage manager Alex Wesevich, scenic build by Jim Lowe, Jeff Lowe, Kelsey Lowe, LISA LOWE, and Katelyn Abaya, wig and makeup design by Emily Hood, props master Jeff Lowe, audio design by Jeff Lowe, dialect coach Wyn Moreno, dramaturg Madeleine Colburn, and producer Jeff Lowe.

Review: South Coast Repertory Presents World Premiere of EAT ME

Sun, 26 Apr 2026 05:08:47 PST

First developed and workshopped at South Coast Repertory's annual Pacific Playwrights Festival in 2025, celebrated new "it" playwright Talene Monahon's freshly birthed play EAT ME is currently being presented at OC's Tony Award-winning regional theater as a fully-formed World Premiere production directed by Caitlin Sullivan. The new work continues performances at its Costa Mesa home through May 3.

Equally intriguing and confounding, the brand new play, honestly, comes off for me as one of those creatively-ambitious but somewhat incomplete stage experiments that left me with more questions than answers… almost to the point where I had to ask myself (and a few people around me) afterwards whether I understood all of it, or am I just too pedestrian of a theatergoer to "get it."

From its purposely ambiguous, misdirection-prone dialogue to its starkly minimalist visual accoutrements that kept things mostly in the dark, the play feels like it had a lot to say, but decided to keep a lot of those words to itself rather than express them outright.

It's unfortunate, really, because the show—for all of its odd situations and head-scratching turns—employs a rather superb ensemble cast that truly showcased their individual acting talents, creating an atmosphere that enticed me enough to keep watching to see what happens next. While I was trying to hang on to their every word for dear life, their delivery and even subtle facial features and movements piqued my interest, keeping their characters worthy of investigating further.

From past experiences, World Premiere plays are usually forgivably imperfect works-in-progress, with visible ample room for improvement and further tweaking. That seems to be the case for this brand new play, which—after seeing it during its opening night performance—feels very much like (to keep using the play's food motif) an amuse-bouche to a later, more fully-cooked completed work.

Sheldon D. Brown and Anne Gee Byrd. Photo by Robert Huskey/SCR.

What Monahon serves up in the play in its current form is tantamount to a theatrical first course that has wickedly funny, quirky moments mixed in with intellectually provocative big ideas cast in shadow. It's a small dish that tantalizes with deceptively bold flavors yet isn't able to be fully gulped down as a satisfying dramatic main entrée.

What I did manage to surmise—and please forgive me if I'm just totally off base—is that the play, at its core, is a purposely eccentric, shape-shifting meditation on different people's voracious appetites—both literal and existential—that invites us into a surreal culinary bubble where hunger becomes identity, obsession, and, ultimately, the road to transformation.

Or maybe the whole thing is just a surreal, umami-triggered dreamscape spinning around the mind of a guy that went through some kind of head trauma. To be honest, I'm still not that quite sure.

Don't get me wrong… there was a lot to like in what was presented, but I also couldn't help but feel very much like I had to work harder than I had to as an audience member to get to that sentiment.

To be fair, there is no denying Monahon's palpable audacity as a fresh voice in theater today. Like a daring, experimental chef deconstructing a tried and true recipe, she openly dismantles conventional narrative structure in EAT ME in favor of a more fluid, almost improvisational succession of moments. Here, we witness simultaneous scenes both peculiar or awkward, meta-theatrical commentary delivered by an omniscient online influencer, and surreal intrusions that evoke a kind of trippy descent into gastronomic absurdity—you know, the kind of foodie over-speak you hear via voiceover on an Instagram reel ecstatically praising a new food spot that is simply the latest trendy must-try.

Kacie Rogers and Carolyn Ratteray. Photo by Robert Huseky/SCR.

What I did kind of glean from the play is its possible central metaphor—food consumption as both pleasure and, perhaps, even medicinal. If that is truly the play's raison d'être, then it certainly reiterates that EAT ME seems rich with potential and possibility, as it tries to tap into contemporary anxieties that include obsession, bodily autonomy, and the elusive pursuit of fulfillment.

At the center of Monahon's play is Chris (the incredible Sheldon D. Brown), a once-stable lawyer whose life has been irrevocably altered by a sudden mysterious medical episode we don't learn about until half-way through the play—causing many to suspect if the play's strange machinations is entirely a visual, imagined manifestation of an internal mental issue.

However, according to an interview with the author published in the program, the play grew out of Monahon's desire to set a play in the world of eating disorders, but settled on an anecdote she heard about someone suddenly developing "gourmand syndrome" a rare condition that pops up after suffering a head trauma, where those afflicted suddenly get the urge to obsess over gourmet cuisine.

So, thus, Chris' story in now a play.

In the wake of Chris' traumatic event, we learn later from his very pregnant, often worried sister Beatrice (the grounded Kacie Rogers) that Chris has inexplicably decided to abandon his potentially lucrative law career—and contact with her—and instead has chosen to immerse himself daily in the orgasmic pleasures of gourmet cuisine and fine dining, becoming a hermit and depleting his money along the way while frequenting an online Reddit group of anonymous like-minded foodie obsessives who hide behind avatars as they chase transcendence and euphoric nirvana through food adventures.

Sheldon D. Brown and Jeorge Bennett Watson. Photo by Robert Huskey/SCR.

Among those Reddit posters include a frequent contributor known simply as "The Gourmand" (represented in the flesh by the commanding Jeorge Bennett Watson) who often posts about the latest top-notch restaurants he visited that, as expected, piques Chris' FOMO curiosity. This enigmatic "Gourmand" often hovers over the action as a kind of omnipresent avatar of indulgence—taking shape interchangeably here and there as a restaurant's waiter or his more posh, hyperbolic online persona, seducing both characters and audience with the promise of fulfillment through one's taste buds.

Early on we also learn that Chris now lives with Cindy (the compelling Anne Gee Byrd), an eccentric older woman whose own peculiar philosophies on consumption—ranging from indifference to food to a bizarre fixation on out-there bodily transformations—form a curious counterpoint to Chris' newfound, more refined indulgence. Why would an elderly cat-lady shut-in who lives like a hoarder want to take in a young gay man with expensive food taste as a roommate? Well… she claims he might be her next soulmate, the next one in line since her previous soulmate—her cat Milo—has just passed away.

The two swap stories and, uh, manifestos, I suppose, like normal roommates: he talks about his food and dating adventures outside their apartment, while she drones on about what her two remaining cats were up to that day. In one of the play's many misdirections, Cindy is first introduced to us with a long monologue about what we all assume must have been a late husband, when in fact it was all about her suddenly departed cat. While Chris indulges in haute cuisine, his much-older cohabitant fills her belly with diet soda and bits of salads (not too sure, but I think it's not farfetched to assume she might even indulge in her pets' canned cuisine from time to time).

In many instances throughout the play, Chris' sister Beatrice becomes the "voice of reason," and, therefore, our proxy, because, like us, she too is baffled by Chris' behavior that alludes to self-harm. Along with Beatrice's healthy-living-obsessed wife Jen (Carolyn Ratteray), Beatrice grows increasingly alarmed at his detachment from reality, fearing that his fixation on these culinary experiences signals a deeper, possibly more dangerous unraveling.

Sheldon D. Brown and Anne Gee Byrd. Photo by Robert Huskey/SCR.

And in one of the play's genuinely funniest lines, Chris' sister even points out what an odd couple they appear to be—of course, it does seem very weird to see a virile young black man in his prime deciding to abandon his life to be… uh, roommates with an old cantankerous white lady in her 60's who lives as a shut in watching TV and surrounding herself with multiple felines for companionship.

Occasionally, the narrative splinters and overlaps in time and space, where we see Chris embarking on an awkward, tentative date with intriguingly odd duck Stevie (the adorable teddy bear Jake Borelli, fresh off multiple seasons on ABC's Grey's Anatomy), a similarly fractured soul and self-proclaimed practicing pescatarian, which Chris simultaneously recounts to Cindy as theatrical layering of scenes.

As the play unfolds, its characters—each orbiting their own peculiar relationship to food, desire, and bodily change—search for something that will make them feel, well, "full."

Chris, in particular, emerges as a haunting figure. His transformation from pragmatic professional to sensual hedonist hints at both a newfound liberation and a quiet despair that's eating him from the inside. Even with the more effervescent Stevie entering his periphery as a possible forever paramour, Chris is too easily distracted with keeping things pointed to his foodie obsessions to open his heart to romance.

Cindy, on the other hand, provides some of the play's most arrestingly bizarre—and darkly comic—musings on human/feline/armadillo mortality and physical transformation, even as she mostly elicits pity from those who may see her as a cautionary tale about the long-term effects of loneliness.

Jake Borelli, Jeorge Bennett Watson, Sheldon D. Brown and Anne Gee Byrd.
Photo by Robert Huskey/SCR.

Overall, EAT ME has an interesting foundation, but does feel like disparate ingredients haphazardly thrown into the pot to see what tastes good after they cook for a bit. There is no denying that Monahon has a knack for structural experimentation, but her loose, improvisational-like imagination also proves to be the play's primary courier for confusion. Scenes drift rather than build; emotional stakes are introduced only to evaporate before they can fully land. The play circles its central questions with a big yellow highlighter: What does it mean to be satisfied? What are we truly consuming? Is satiation impossible to achieve? But she encircles these without ever quite finishing them. As a result, the audience is left nibbling at intriguing morsels rather than digesting a fully-realized dramatic meal.

Visually, the production's subdued… well… everything feels too austere (from Nicholas Ponting's minimalist set design to Isabella Byrd's too-dark dramatic lighting), thumping the audience over the head to remind them this is super moody and draped in mystery and intrigue. A bit of theatrical magical is introduced in the last few minutes of the play which made me smile, if only to experience something different than the first 90 minutes we spent with what seems like just a lone high-beam flashlight in a darkened hallway.

On my way out of the theater, I overheard one patron sum up her sentiments quite succinctly to her companion: "What just happened?"

If even a few people feel this way, then it might be time for it to go back into the oven and cook a bit longer.

Still, there is something undeniably compelling about the ambition on display. Even in its most confounding speeches and exchanges, EAT ME crackles with the restless excitement of a fresh theatrical voice pushing against the boundaries of theatrical expectations and traditions. It may not yet achieve the narrative clarity or emotional cohesion we all want in our plays, but this work-in-progress definitely indicates someone unafraid to take risks—even if those risks cause many to walk away scratching their heads.

In the end, EAT ME is less a full-course meal than a new experimental tasting menu—provocative, peculiar, and, at times, confusing, frustrating and perplexing. One may leave the theater not entirely satiated, but, perhaps, maybe hungry for more.

** Follow this reviewer on Bluesky / Instagram / Twitter X / Threads: @cre8iveMLQ **

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Photos by Scott Smeltzer, courtesy of South Coast Repertory.

Performances of Talene Monahon's EAT ME at South Coast Repertory continue through May 3, 2026. Tickets can be purchased online at www.scr.org, by phone at (714) 708-5555 or by visiting the box office at 655 Town Center Drive in Costa Mesa.

Video: First Look at EAT ME at South Coast Repertory

Fri, 24 Apr 2026 13:00:18 PST

South Coast Repertory has released first look footage of EAT ME, the world premiere of Talene Monahon's wildly imaginative new play, now playing through May 3, 2026 at the Julianne Argyros Stage as part of the Pacific Playwrights Festival.

Directed by Caitlin Sullivan, the play follows Chris, a man pulled into an obsessive online community of food lovers where culinary passion blurs into fixation, as those around him navigate their own physical and emotional transformations. The Los Angeles Times called it "a foodie wonderland gone down a rabbit hole," while Stage and Cinema praised it as "funny on the surface, quietly devastating underneath." Fanboy Nation declared it a must-see, calling the performances "masterful."

The cast features Sheldon D. Brown as Chris, Jake Borelli as Stevie, Kacie Rogers as Beatrice, Carolyn Ratteray as Jen, Anne Gee Byrd as Cindy, and Jeorge Bennett Watson as The Courmand. Borelli is known for his eight-year run as a series regular on Grey's Anatomy, while Rogers is currently recurring on HBO Max's The Pitt.

Monahon is a New York Times Rising Theatre Star of 2023 whose previous work includes Meet the Cartozians, a New York Times Critic's Pick and one of Vulture's Top 10 Best Plays of 2025.

EAT ME runs approximately 100 minutes with no intermission and is recommended for audiences 18 and up. An ASL-interpreted performance takes place April 25 at 2 p.m. For tickets and information, visit South Coast Repertory online or call ticket services at (714) 708-5555.

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THE THREE MEXICAN TENORS To Be Presented By Pacific Symphony

Wed, 22 Apr 2026 20:08:16 PST

Pacific Symphony and Principal Pops Conductor Enrico Lopez-Yañez showcase the sensational vocal ensemble, The Three Mexican Tenors, for an enchanting evening that blends the passion and tradition of Mexico with the universally beloved classical tenor trio.

From operatic masterpieces like "Libiamo" and "O Sole Mio" to Broadway tunes and pop hits such as "You Raise Me Up" and "My Way," the show is filled with heartfelt emotion and powerhouse vocals. Adding to the excitement, Mariachi Garibaldi de Jaime Cuélla joins the vocalists and orchestra for a vibrant celebration of Mexican musical heritage. Performances take place on May 15-16, 2026, at 8 p.m. in the Renée and Henry Segerstrom Concert Hall.

Praised for their "commanding presence and effortless charisma" (On the Aisle) and exceptional ability to blend genres, the trio deliver songs with passion and impeccable technique among humor and storytelling.

The performance, part of Pacific Symphony's 2025-26 Pops Series, brings not only high-energy but a rare and deeply personal collaboration between father and son. Jorge Lopez-Yañez, father of Principal Pops Conductor Enrico Lopez-Yañez, who leads the orchestra, is joined by tenors Bernardo Bermudez and Alfredo Carillo.

"It is truly an honor to work alongside my father," said Enrico Lopez-Yañez."He has always been a musical inspiration to me and has played a critical role in forming my musical tastes and upbringing. This program is deeply personal with songs
my dad sang during my throughout my life, and I love the special mix of genres this program brings to our audiences."

The musical arrangements are crafted to highlight each tenor's unique vocal qualities, while also showcasing the harmonious ensemble and virtuosity as artists. With a blend of opera, Broadway, mariachi and pop, the show promises be both joyful and meaningful for anyone who appreciate world-class singing.

"Not many people can say they get to work and perform with their son," said JorgeLopez-Yañez. "Because of my role with The Three Mexican Tenors, and my son's position as a conductor, I have the pleasure of doing both! The Three Mexican Tenors highlight our love for a broad range of musical genres, from beloved romantic ballads to hit songs made famous by many cultural icons. Though our voices and upbringings are unique, when we come together in collaboration, the arrangement is vibrant and filled with emotion."

Pacific Symphony's production of "An Enchanted Evening with The Three Tenors" takes place Friday, May 15, and Saturday, May 16, 2026, at 8 p.m. in the Renée and Henry Segerstrom Concert Hall. Tickets are $50-$181. Both performances include a "Cocktails with the Conductor" event before the concert, during which guests are invited to join Principal Pops Conductor Enrico Lopez-Yañez in the main lobby starting at 7:15 p.m. as he talks about the show.

The Pacific Symphony Pops Series concerts are underwritten by the Sharon J. and Thomas E. Malloy Family. Additional support comes from Avenue of the Arts Costa Mesa, The Park Club, PBS SoCal and K-EARTH 101.

For more information or to purchase tickets, call (714) 755-5799 or visit pacificsymphony.org.

About The Three Mexican Tenors

Mexican tenor Jorge Lopez-Yañez has distinguished himself as a leading tenor on operatic stages, including the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Los Angeles Opera, and all the biggest international opera houses.

Mexican-Venezuelan American baritenor Bernardo Bermudez has been praised for his exceptional vocal range and has performed with opera companies throughout North America. Notable roles include Diego Rivera in Frida, Figaro in Il barbiere di Siviglia, Stanley Kowalski in A Streetcar Named Desire and Danilo in The Merry Widow.

Internationally acclaimed tenor Alfredo Carrillo has captivated audiences worldwide with his powerful voice, emotional depth, and commanding stage presence. Renowned for his portrayals of Don José (Carmen), Alfredo Germont (La Traviata), and Rodolfo (La Bohème), Carrillo has performed across Mexico, the United States, Costa Rica, and Europe.

About Mariachi Garibaldi de Jaime Cuéllar

Mariachi Garibaldi de Jaime Cuéllar has enchanted audiences with their dynamic musicianship and lively stage presence for over 25 years. Founded in 1994 by Jaime Cuéllar, Mariachi Garibaldi's commitment to providing a quality representation of the mariachi genre has propelled them into becoming one of Los Angeles most recognized Mariachis and arguably in California.

About Enrico Lopez-Yañez, Principal Pops Conductor

Enrico Lopez-Yañez is redefining what it means to be a conductor in the 21st Century. Celebrated for his charismatic stage presence, genre-defining collaborations, and passion for making orchestral music accessible to all, Lopez-Yañez is one of the most innovative and in-demand conductors in North America. He currently serves as Principal Pops Conductor of the Detroit and Pacific Symphonies, Principal Conductor of Dallas Symphony Presents, and Principal Guest Conductor of Pops at the Indianapolis Symphony Orchestra. He previously spent eight seasons conducting the Nashville Symphony, where he served as their Principal Pops Conductor.

As a trailblazer in the symphonic world, Lopez-Yañez has premiered dozens of groundbreaking symphonic collaborations with artists including Dolly Parton, Kelsey Ballerini, Portugal. The Man, The Mavericks, Tituss Burgess, and The War and Treaty. His wide-ranging collaborations span genres and generations, featuring artists such as Nas, Patti LaBelle, Itzhak Perlman, Kenny Loggins, Stewart Copeland, Toby Keith, Richard Marx, Bernadette Peters, Leslie Odom Jr., Patti LaBelle, Gladys Knight, Ben Folds, The Beach Boys, Tower of Power, and Kenny G.

As a composer and arranger, Lopez-Yañez's versatility is equally expansive. He has written for artists like Big Sean and Mariachi Los Camperos, and his works have been commissioned and performed by major orchestras including the Cincinnati Pops, Detroit, Houston Symphony, San Diego Symphony, Atlanta Symphony, National Symphony, Seattle Symphony, Toronto Symphony, and many more.

Highlights of the 2025-26 season include performances with Ben Rector, Cody Fry, Common, Pepe Aguilar, Trisha Yearwood and Pink Martini. He will make appearances with the Cleveland Orchestra, Hollywood Bowl Orchestra, and Canada's National Arts Centre Orchestra, while returning to lead the Baltimore Symphony, Cincinnati Pops, Minnesota Orchestra, National Symphony, Philadelphia Orchestra, and Seattle Symphony, among others. Past guest engagements include the Los Angeles Philharmonic, Houston Symphony, San Francisco Symphony, Pittsburgh Symphony, St. Louis Symphony, and Toronto Symphony.

In 2023, Lopez-Yañez was honored with the "Mexicanos Distinguidos" award by the Mexican government, recognizing outstanding career achievements by Mexican citizens abroad. A passionate advocate for Latin music, he has arranged and produced concerts featuring Latin Fire, Mariachi Los Camperos, and The Three Mexican Tenors, and collaborated with Aida Cuevas, Arturo Sandoval, Lila Downs, and Lupita Infante.

Lopez-Yañez is also Artistic Director and Co-Founder of Symphonica Productions, LLC, a creative production company developing innovative Pops, Family, and Educational concerts for orchestras. Symphonica's shows have been praised as "incredibly special - and something that needs to become the new norm" (Lima Symphony) and have been performed by the Baltimore, Milwaukee, North Carolina, Phoenix, Seattle, Toronto, and Utah Symphony, among others.

His work as a producer, composer, and arranger can be heard on numerous recordings, including the UNESCO benefit album Action Moves People United and award-winning children's albums such as The Spaceship that Fell in My Backyard and Kokowanda Bay. His work has received honors from the John Lennon Songwriting Contest, Hollywood Music in Media Awards, Parents' Choice Foundation, and Global Media Awards, where he was recognized for his "catchy arrangements."

About Pacific Symphony

Pacific Symphony is the largest orchestra formed in the United States in the past 50 years and is ranked among the top orchestras in the U.S. by the League of American Orchestras. In 2024, Alexander Shelley was appointed to become Pacific Symphony's third artistic leader, taking the title of Artistic and Music Director, beginning in the 2026-27 season. He is serving as Artistic and Music Director Designate during the 2025-26 season, which marks Pacific Symphony's 47th season. Founded in 1978, the Symphony was led for 35 years by Carl St.Clair, who is honored with the title of Music Director Laureate starting in the 2025-26 season.

Pacific Symphony features an expansive range of programming through the Classical Series, the beloved Pops Series led by Principal Pops Conductor Enrico Lopez-Yañez, SummerFest at the Great Park Live Amphitheatre in Irvine, and engaging Family Musical Mornings concerts for young children and their families. Signature cultural concerts for Lunar New Year and Nowruz are joyful musical celebrations that promote understanding and appreciation of the arts from around the world-a priority for Pacific Symphony, which is dedicated to the power of music to unite and inspire. The Symphony in the Cities program brings free outdoor concerts and interactive musical activities to cities across Orange County, making live symphonic music accessible to all.

With a purpose to lift the human spirit through the power of music, the Symphony is a cornerstone of the cultural landscape of Southern California, enriching lives and bringing communities together through creative and diverse programming. As the resident orchestra of the Renée and Henry Segerstrom Concert Hall, the Symphony presents more than 100 concerts and events each year and a rich array of education and community engagement programs, reaching more than 300,000 residents of all ages.

PIXAR IN CONCERT, NUTCRACKER FOR KIDS & More Set for Pacific Symphony 2026-27 Season

Wed, 22 Apr 2026 19:45:44 PST

Pacific Symphony has announced its 2026–27 Family Musical Mornings series, presented by Farmers & Merchants Bank, with a lineup of concerts designed to introduce young audiences to orchestral music through storytelling and interactive performances.

The series will take place at the Renée and Henry Segerstrom Concert Hall in Costa Mesa, with each program offering two performances at 10 a.m. and 11:30 a.m. on select Saturdays. Pre- and post-show activities will include hands-on games, coloring stations, and photo opportunities for families.

The season will open October 24 with A Symphony Spooktacular featuring Leopold the Leopard, led by puppeteer Victor Yerrid. The program will include Halloween-themed orchestral selections and encourage audiences to attend in costume.

On December 5, the series will present The Nutcracker for Kids, a narrated adaptation of Tchaikovsky’s ballet featuring dancers from the American Ballet Theatre William J. Gillespie School, directed by Susan Brooker. The performance will follow Clara’s journey through the Land of Sweets and will include an optional VIP experience with breakfast and holiday activities.

Pixar in Concert will take place March 20, 2027, featuring music from films including Toy Story, The Incredibles, Up, Coco, and Finding Nemo, accompanied by projected visuals above the orchestra.

The season will conclude May 22, 2027, with The Little Prince: Opera for Kids, an adaptation of Antoine de Saint-Exupéry’s story presented as an interactive operatic experience for young audiences.

Subscriptions for all four concerts are now available, with single tickets set to go on sale August 16.

NEWSIES Unseats LES MISÉRABLES to Win BroadwayWorld's 2026 Ultimate Movie Musical Bracket

Wed, 22 Apr 2026 13:26:32 PST

After six weeks of voting, BroadwayWorld readers have crowned Newsies the Ultimate Best Movie Musical in the 2026 edition of BroadwayWorld's Annual Bracket. The 1992 Disney film, directed by Kenny Ortega and featuring music by Alan Menken and lyrics by Jack Feldman, defeated Les Misérables in the final round, ending the Tom Hooper-directed film's two-year winning streak.

In both 2024 and 2025, Les Misérables was voted as the Ultimate Best Musical of all time, making it the title to beat heading into this year's competition. Newsies, a perennial fan favorite that developed a devoted following after its theatrical release and has since been adapted for the Broadway stage, advanced through six rounds of head-to-head matchups before claiming the title.

Now in its third year, BroadwayWorld's Bracket invites readers to debate, defend, and ultimately crown the greatest movie musical of all time from a field selected by BroadwayWorld editors. Voting in the 2026 edition opened on Tuesday, February 24 and concluded on Sunday, April 12, with new matchups released each week.

Photos: Inside Opening Night of EAT ME at South Coast Repertory

Tue, 21 Apr 2026 06:08:20 PST

South Coast Repertory's production of "Eat Me" a play by Talene Monahon, directed by Caitlin Sullivan officially opened recently at the Julianne Argyos Stage. This production is a world premiere and a part of the Pacific Playwrights Festival. Check out photos from opening night below!

Chris loves fine cuisine. He spends hours in a corner of the internet where like-minded foodies share their extraordinary culinary experiences. Stevie doesn’t eat fish with souls, Beatrice and Jen just baked a flax loaf and Cindy might have salad, later. In this imaginative play, everyone is longing for something that makes them feel full—and when the meal is over, maybe they’ll be transformed.

This production is currently in performances through May 3.

Photo Credit: Jill Huisken/SCR

Carolyn Ratteray, Kacie Rogers, Anne Gee Byrd, Sheldon D. Brown, Jeorge Bennet Watson and Jake Borelli

Cast with playwright, director, SCR leadership, and honorary producers

Midori Francis, Niko Terho, Jake Borelli, Brent Peters, Alexis Floyd

Ryan Spahn and Michael Urie

Stanley Andrew Jackson, Doug Brown, Bradley Gibson, Wildlin Pierrevil, JERRIKA HINTON, Jefrey Rachard, Raven Lorraine, ShaYne Powell, Galen J. Williams

Alexandra Metz, Chelsea Boyd, Kacie Rogers, and Guest

Kacie Rogers

Jake Borelli

Midori Francis

Honorary producers Mickey and SCR Trustee Nickie Williams, playwright Talene Monohon and Director Caitlin Sullivan

Trustee Julia Voce, Haley Offhaus, and Harmon Kong

SCT Board President Talya Nevo-Hacohen, Bill Schenker, Paula Orologas

Goran Matijasevic, Roberta Flores, Roxanne and Dan Stetson

RIchard Reisman, Katrina Keski-Kastari, Stanley Andrew Jackson, and guest

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