BroadwayWorld.com Charlotte Stories

SEUSSICAL JR. to Return to Theatre Charlotte Through Inclusive Penguin Project

Wed, 10 Jun 2026 17:48:26 PST

Theatre Charlotte will present its second annual Penguin Project production, bringing together 44 artists and mentors for a theatrical experience centered on inclusion, creativity, and community. This year's production of Seussical Jr. will run June 18-21 at Theatre Charlotte.

The cast includes young artists with disabilities paired with peer mentors, creating a collaborative environment where friendship, confidence, and self-expression take center stage. This year's program welcomes 10 new artists and 16 new mentors, continuing the growth of an initiative that has quickly become one of Theatre Charlotte's most impactful programs.

Based on the beloved works of Dr. Seuss, Seussical Jr. is a joyful musical adventure that celebrates friendship, imagination, belonging, and the importance of every voice. At its heart is a simple but powerful message: "A person's a person, no matter how small." It's a message that perfectly reflects the spirit of The Penguin Project and the belief that everyone deserves the opportunity to be seen, heard, and celebrated.

Founded in 2004 by Dr. Andrew and Kathy Morgan in Peoria, Illinois, The Penguin Project has grown into a national movement with more than 50 chapters across the country. The program provides opportunities for young artists with disabilities to participate in a fully realized theatrical production alongside peer mentors who offer friendship, encouragement, and support throughout the rehearsal and performance process.

The impact of the program extends well beyond the stage. "One of the most meaningful parts, as a parent, was being able to witness my daughter find joy and purpose in a space where she felt welcomed and included," said Angel G., whose daughter is participating in this program for a second year. "She was treated as an artist, encouraged with care, and supported in ways that honored her dignity."

For mentors, the experience can be equally transformative. "The experience is fantastic to make new friends and be in a positive environment," said returning mentor Aubrey C. "On top of learning theatre skills, you also learn about teamwork and kindness."

Last year's Penguin Project production played to three sold-out houses and left audiences laughing, cheering, and reaching for tissues. Many patrons described it as one of the most meaningful theatre experiences they had all year.

Tickets for Seussical Jr. are available now at theatrecharlotte.org/Seussical

About The Penguin Project

The Penguin Project creates opportunities for young artists with disabilities to participate in the performing arts through collaborative theatre productions supported by peer mentors. Through creativity, teamwork, and friendship, participants develop confidence, communication skills, and lasting relationships.

About Theatre Charlotte

Founded in 1927, Theatre Charlotte is the oldest continuously producing community theatre in North Carolina and Charlotte's longest-running arts organization. Theatre Charlotte is committed to creating meaningful theatrical experiences and educational opportunities that enrich the Charlotte community.

RENT to Open at Flat Rock Playhouse in 30th Anniversary Production

Wed, 10 Jun 2026 10:39:41 PST

Flat Rock Playhouse will present a special 30th Anniversary production of RENT, the Tony Award and Pulitzer Prize-winning musical that has captivated audiences for three decades, running July 24 through August 15 at the State Theatre of North Carolina.

Based on Giacomo Puccini's beloved opera La Bohème, RENT tells a timeless story of artists striving to create meaningful lives while navigating love, friendship, loss, and the pursuit of their dreams. With music, lyrics, and book by Jonathan Larson, the musical follows a group of young artists and musicians in New York City's East Village at the dawn of the 1990s as they search for purpose, connection, and a place to belong.

Directed by Lisa K. Bryant, Flat Rock Playhouse's new production honors the beloved legacy of RENT while celebrating the enduring themes at the heart of the story. "Sometimes what gets lost in conversations about RENT is that, at its heart, it's a love story,” said Bryant. “Like the opera that inspired it, La Bohème, it's about artists trying to survive and friends becoming family. It's about young people facing life's uncertainties while choosing joy, hope, and connection. For me, RENT is ultimately a story about the things that give our lives meaning—the people we love, the communities we build, and the things we create together. The world is imperfect and life is fragile, and yet people continue to create, to connect, and above all, to love. RENT has endured for 30 years because of the humanity at its center. It reminds us that even in difficult times, our connections to one another are what sustain us."

This production features an exceptional cast of Broadway veterans and regional favorites including Brendan Dallaire (Roger), Nat Zegree (Mark), Iliana Garcia (Mimi), Emily Kristen Morris (Maureen), Dion Simmons (Tom), Jordan Alexander (Angel), T. Shyvonne Stewart (Joanne), Josh Marin (Benjamin), Lucy Werner (Ensemble), Niani Feelings (Ensemble), Maddie Franke (Ensemble), Amanda Tong (Ensemble), Courter Simmons (Ensemble), and David André (Ensemble).

Since its Broadway debut in 1996, RENT has inspired generations of theatergoers around the world. Winner of four Tony Awards, including Best Musical, and the Pulitzer Prize for Drama, the show has become a cultural touchstone and one of the most influential musicals of all time.

Tickets for RENT are on sale now. Audiences are encouraged to purchase early to secure the best available seating.

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.

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: THE OLD MAID / QUEEN MARY / MARTHA GRAHAM at Spoleto

Wed, 03 Jun 2026 11:07:11 PST

Opera at Spoleto Festival USA is not especially grand this year, with just two one-acts on the 2026 roster, but there are celebrations galore: nods to the nation’s semi-quincentennial, Miles Davis’s and John Coltrane’s 100th birthdays, and the Martha Graham Dance Company’s centennial. And with the return of Spoleto founder Gian Carlo Menotti to the opera lineup – as a librettist and composer – after a hiatus of 15 years, the opera lineup made up in charm and inventiveness for what was lacking in length.

From the standpoints of technical excellence, choreographic creativity, and musical inspiration – including another serving of Menotti, his rarely performed Errand Into the Maze – the Martha Graham celebration was a triple treat. If anything, the other two works on the program, Graham’s Chronicle and Jamar Roberts’ We the People, had even broader historical significance than the Menotti score.

All of the music, not only Menotti’s, was stellar, helping the company to meet the moment. After Graham Dance rejected Adolf Hitler’s invitation to perform at the 1936 Olympics in Berlin, the all-female Chronicle spewed forth as a more extended and pointed response. Leslie Andrea Williams, with the assistance of three other women attending her outsized black dress, carefully sat herself down centerstage.

Patience sitting at her monument, but not exactly smiling. Technical difficulties obliged officials to announce a delay, and Williams, assisted by her entourage, to abandon her vigil and return. When the piece finally began with its first segment, “Spectre – 1914,” we could discover the reason for Williams’ careful, stealthy entrance. The underside of her outsized black dress was a fiery red, destined to be fanned into flames by Williams’ movements, taking flight via her arms.

After the three parts of Williams’ solo, “Drums-Red Shroud-Lament,” Graham’s costume designs became more conventional, though barely less outré. Laurel Dalley Smith soloed in the middle segment, “Steps in the Street,” which depicted “Devastation-Homelessness-Exile,” with an ensemble of nine other women. And Williams, in a more liberating costume, returned with Smith to front the two parts of the “Prelude to Action” finale, “Unity-Pledge to the Future.”

Compared to Menotti’s fantasia, Wallingford Riegger’s score for Chronicle was more formal and ornate – appropriately stately and declamatory. But it would be hard for me to dispute that the Errand piece, loosely retelling the myth of Theseus in the labyrinth confronting the Minotaur, wasn’t the most fascinating dance of the evening, with Xin Ying dancing the remade female protagonist and Ethan Palma portraying the beast of fear.

Scenery by Isamu Noguchi was stark and memorable: a long rope winding its way lazily and maze-ily forward from an upstage V-shaped wooden sculpture, representing either “the crotch of a tree or the pelvic bones of a woman,” according to the Graham Dance Company website. So the absorbing journey was either a heroic adventure or a dark inward probe.

The Graham site traces We the People back to Agnes De Mille, though the new score by Rhiannon Giddens, denim-colored costumes by Karen Young, and the martial-artsy touches in Roberts’ choreography signal a comprehensive makeover. With the delayed start of Chronicle and an overlong intermission, Giddens threatened to compete with Giddens, as Michael Abels’ Rhapsody on “Omar” (the Pulitzer Prize-winning opera he wrote with Giddens) was about to receive its world premiere on the other side of town.

So my response to We the People, remade to reflect American life in 2024, was not as stress-free as I would have liked. Yet even if viewing conditions had been ideal, the Graham program would not have rivaled the US premiere of Scottish Ballet’s Mary, Queen of Scots as the most spectacular event at Spoleto so far, likely to remain its artistic pinnacle.

The original score by Mikael Karlsson and Michael P Atkinson is nearly as breathtaking as the costumes and scenery by Soutra Gilmour. But the co-creation by choreographer Sophie Laplane and director James Bonas lifts Queen of Scots to its heights, in a staging that hoisted the three walls of the set to the rafters at Gaillard Center. With the inrush of dancers below – royals, courtiers, spies, and guardsmen – it appeared that an epic Rembrandt painting was materializing before our eyes.

Queen Elizabeth is intertwined with Mary throughout the Laplane/Bonas scenario, as the soon-to-die Virgin Queen recollects their lifelong rivalry. This aging and decrepit Elizabeth is danced by Charlotta Öfverholm, who often lurks unseen as Mary’s story unfolds, like a Gothic horror Tinkerbell. We see Roseanna Leney as the future Queen Mary emerge from the loins of Catherine de’ Medici, a metallic dress worn by Madeline Squire that could become a cage.

Dressed in a chic black dress, Leney contrasted dramatically with towering redhead Harvey Littlefield as Younger Elizabeth, dressed in gleaming white, striding as majestically as a heron. Littlefield’s deliberate gait made for an untouchable Liz, while the lithe Leney cycled through at least three men as the flapper-like Mary, accompanied by four other Marys when obliged to flee France.

Arguably, the essence of the Laplane/Bonas concept was Kayla-Maree Tarantolo as the Jester, who moonlighted as Death. The staging weaved between humor or beauty and brutality as the Jester, only lacking a wand to be a second Tinkerbell, brought on one death after another.

Three moments were most indelible. Mary “transforms,” according to the printed scenario, when the last of her lovers, Nicol Edmonds as Darnley, “is consumed.” Leney was joined by a group of other dancers – maybe the other Marys? – who lined up in front of her and, facing the upstage scrim, became a monstrous shadow insect who devoured Darnley.

Shortly afterwards, the pregnant Mary gave birth, a rather hilarious process. When she was showing, a large white ovoid covered her abdomen, which morphed into a large egg or a delicate white balloon, depending on the fate of the fetus. The sturdier egg could be labelled “James” prior to birth. The lad moved horizontally across the stage, obscured momentarily like luggage being scanned at an airport, and emerging as Squire in an all-white costume, still labelled James.

The most stunning effect was saved for the last blackout. With Laplane/Bonas’s narrative framework, elder Elizabeth could die at the same moment that her recollections of Queen Mary ended – with the sound of three vicious chops of an axe resounding through the hall as the queens perished. Our last glimpse of Leney could stay with you for a lifetime.

Although family-friendly Alvin Sputnik: Deep Sea Explorer ran over the Memorial Day weekend at Spoleto, serious non-puppet, non-animation theatre is backloaded into the schedule. George + George ran as a work-in-progress during the middle week, and Patrick Page’s All the Devils Are Here, originally slated for the 2025 fest, runs during the final weekend.

So the best theatre at Spoleto this year will likely remain director Daisy Evans’ remarkable reclamation of festival founder Gian Carlo Menotti’s 1939 radio opera, The Old Maid and the Thief, for the Dock Street Theatre stage. The old-timey Dock seemed like the perfect place for this retro comedy, not so much adapted for the stage as quaintly preserved there.

Walt Spangler’s set design is a hybrid radio studio and rudimentary theatre space, with Timothy Myers and his Spoleto Festival USA Orchestra upstage from the diminutive cast of four singers. Flanking our players, who are never saddled by microphones, are spaces for Foley operator, Amelia Hawke, and for our emcee, Patti O’Furniture.

Any excuse for including Charleston’s own extraordinary female impersonator, O’Furniture, in a show is good enough for me. His talents are multifold: aside from announcing and helping with scene shifts, aiding the two ninja supernumeraries, he can be the scenery, most memorably when, assisted by the end of a brass bed, he holds up two flashlights and becomes the grille of a luxury car.

Other players strive to snatch the spotlight from O’Furniture, often succeeding. We initially empathize with mezzo soprano Katharine Goeldner as the old maid, Miss Todd, playing her as decidedly more maidenly than elderly. When Efraín Solís, as Bob, a drifter, comes knocking at Miss Todd’s invisible front door asking for a handout, Goeldner is immediately smitten, willing to open up in more ways than one.

Helped by her maid, Laetitia, Miss Todd entices Bob to linger awhile, with free room and board.

Is soprano Rachel Blaustein as Miss Todd’s maid also smitten before Bob takes off his shirt? Can’t remember. At any rate, it’s unseemly for Miss Todd to be asking a vagabond to be her guest, so Laetitia is quickly involved. Secretly competing.

Bob’s sexual leanings may run parallel to his creator’s, but Menotti’s libretto only offers a faint hint. The drifter’s failure to show his appreciation of his benefactress by making a move on her gradually wakes up Miss Todd’s sleeping passions to the point of desperation. She becomes the thief in Menotti’s title, eventually knocking off a liquor store in the middle of the night.

All this while, there are newspaper and radio reports that a notorious escaped criminal is on the loose and on a thieving rampage. This romanticizes Bob to his hostess, further inflaming her and Laetitia. But augmenting these media bulletins is mezzo soprano Chrystal E. Williams as the neighborhood snoop and gossip, Miss Pinkerton, whose visits at Miss Todd’s become progressively less welcome as the ballyhooed criminal rampage rages on. The strait-laced chatterer becomes a nemesis.

Of course, Bob is perfectly innocent. It becomes progressively more unlikely that the drifter would trouble himself to leave Miss Todd’s for a criminal caper when he’s living in the lap of luxury! That need was clearly Miss Todd’s.

Throwing a veil over Menotti’s denouement, I’ll leave it to opera companies and producers to seek out The Old Maid and the Thief, so they can deliver the goods to audiences that have missed out for nearly 90 years. Evans’ way of doing it could conceivably be improved upon, but it should remain the model.

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)

Flat Rock Playhouse Receives $40,000 Grant to Improve Theater Infrastructure

Mon, 01 Jun 2026 16:05:34 PST

Flat Rock Playhouse has been awarded a grant of $40,000 by the Community Foundation of Henderson County.

According to Sam Yaeger Goodrum, Managing Director, the grant will support the replacement or repair of the HVAC system serving the Blue Room in the Playhouse Education Building, a vital space used for student arts education programs and mainstage production rehearsals. The project will help ensure a safe, comfortable environment for hundreds of students, artists, staff, volunteers, and community members who utilize the facility each year.

Goodrum states, “This grant from the Community Foundation of Henderson County addresses a critical infrastructure need and dramatically improves the experience for hundreds of students as well as the team of artists, staff, and volunteers who bring Flat Rock Playhouse productions to life. We are deeply grateful for their investment in both arts education and the future of our theatre.”

Flat Rock Playhouse, The State Theater of North Carolina, was founded in 1952 and enriches lives through the art of theatre by sustaining production excellence, nurturing talent, and inspiring creativity in an inclusive safe haven for artistic vision, life-long learning, and creative risk. Annually, Flat Rock Playhouse serves over 50,000 patrons through onstage productions and 10,000 local students through arts education experiences.

Community Foundation of Henderson County supports charitable programs in the greater Henderson County area. Founded in 1982, the Community Foundation administers over 500 funds with assets of over $100 million.

SPRING AWAKENING To Be Presented By Asheville Musical Theatre

Sat, 30 May 2026 16:48:37 PST

Asheville Musical Theatre will present Spring Awakening, the groundbreaking Tony Award-winning rock musical with music by Duncan Sheik and book and lyrics by Steven Sater, running June 25-28, 2026, at the Diana Wortham Theatre in downtown Asheville.

Based on Frank Wedekind's controversial 1891 play, Spring Awakening follows a group of young people navigating the challenges of identity, sexuality, and mental health, in a world that refuses to answer their questions. Featuring a powerful contemporary rock score and deeply human storytelling, the musical remains as relevant today as when it first premiered on Broadway twenty years ago.

Produced by Asheville Musical Theatre, a queer-led nonprofit organization dedicated to creating bold, accessible musical theatre in Western North Carolina, this production explores the timeless struggle of young people searching for connection, understanding, and hope. Though set in late nineteenth-century Germany, the musical's themes of self-discovery, belonging, and communication continue to resonate deeply with modern audiences.

"At its core, this is a story about the importance of communication, compassion, and allowing young people the space to become who they are, "said Director Ethan Henry. "While the show explores difficult subjects, it also celebrates the beauty, joy, and wonder that come with discovering yourself and finding connection with others."

The production stars Caleb Hector as the outspoken and inquisitive Melchior, opposite Emma-Leigh Brookshire as Wendla, a young woman searching for answers in a world determined to keep them hidden. Maximilian Koger takes on the role of Moritz, whose struggles with expectation and isolation form one of the musical's most heartbreaking storylines.

Joining them are Kirby Gibson as Martha, Kelli Hall as Thea, Reed Atherton as Hanschen, Isabeli Buendia as Anna, Alex Poteat as Ernst, Annabel Pulman as Ilse, Shane Dinan as Georg, and Lucien Hinton as Otto. Richie Barrella and Fancy Marie complete the company as the Adult Man and Adult Woman, portraying the many authority figures who shape, and often complicate, the lives of the show's young protagonists.

The production is directed by Executive Director Ethan Henry, with Zoe Zelonky serving as Assistant Director and Choreographer and Gabrielle Tee as Music Director. Michelle Newman leads the stage management team as Stage Manager alongside Assistant Stage Manager Sara Hassinger. Laura Rikard serves as Intimacy Director, helping to ensure that the show's sensitive and emotionally complex material is approached with care, collaboration, and respect.

Performances will take place June 24th-28th at the Diana Wortham Theatre located at 18 Biltmore Avenue Asheville, NC. Tickets are available through the Wortham Arts website.

Please Note: Spring Awakening contains mature themes, including sexual content, strong language, depictions of abuse, and discussions of suicide. The production is recommended for audiences ages 16 and older.

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.

Review: THE NOTEBOOK THE MUSICAL at Belk Theater

Fri, 22 May 2026 12:21:50 PST

If necessity is the mother, maybe expectation is the grim reaper. Rescued from a slush pile of literary agency manuscripts, Nicholas Sparks’ THE NOTEBOOK became a #1 New York Times bestseller in 1996, the first of more than a dozen, and adapted for the big screen in 2004 – with such established and future marquee stars as James Garner, Gena Rowlands, Rachel McAdams, and Ryan Gosling.

When Bekah Brunstetter adapted the novel for the stage in 2022, she was collaborating with composer/lyricist Ingrid Michaelson and the Chicago Shakespeare Theater. So when this Chicago manuscript hit my desk that same year, in judging for the Steinberg Awards (given to the best play premiered outside Broadway), I could presume that Brunstetter and Michaelson were thinking that their work was small and intimate.

It had been five years since I’d seen Fun Home at Circle in the Square in New York, and three years since it had toured here in Charlotte with our own Corrigan as Middle Allison at Knight Theater. That musical and that scale seemed to be the template for The Notebook, which sports three Allies and tacks on three Noahs. The script delighted me as I mentally restaged it at Circle in the Square, where Fun Home had smitten me.

My enjoyment of the script was enhanced by my unfamiliarity with Sparks’ novel and Nick Cassavetes’ film. Call it snobbery, but I’d devoutly avoided both of them. So the simplicities of the script were actually charming, though I’ve since learned that the flavorings of the novel, grounding it specifically in the Carolinas, were neutered to “A Coastal American Town.”

Nor did I realize that the musical had time-traveled to the Vietnam War era from its original WW2 beginnings. Presumably, that allows the racial diversity of the cast to be more plausible – although the manuscript doesn’t prescribe it.

By the time The Notebook The Musical opened at Belk Theater earlier this week, all memory of Brunstetter’s book had also vanished, leaving me as I was when it first flashed onto my computer monitor: vaguely averse to what little I knew about the Sparks novel and the Hollywood film. Recognition only peeped in when we reached the scene where Allie sees Noah’s photo in a newspaper, standing proudly in front of the old house he had promised to renovate for her.

At that point, I had the advantage of not knowing how the story would end, though I did care. What do doctors know, right?

But I was still vaguely floating around mentally amid the non-specific David Zinn & Brett J. Benakis – and feeling more and more irritated that the story hadn’t touched down in the Carolinas or any other identifiable location. The triple Noahs and Allies, reminding me of Fun Home, didn’t help either.

Notwithstanding the vertical fluorescent lights shuttling up and down from the fly loft to chandelier height, or the repeated, random scurryings and mimed replays of previous scenes, The Notebook kept looking like a charming little musical trying so, so hard to balloon into Broadway-extravaganza dimensions. In reality, even our Knight Theater isn’t quite as small as the Broadway theater where it was staged. The Yard at Chicago Shakespeare was even smaller.

While the pretensions and non-specifics of The Notebook were deflating, threatening to snuff itself out, directors Michael Greif & Schele Williams worked their chief wonders with their finely selected cast. Beau Gravitte was the essence of avuncular as Older Noah, our narrator, even though his own medical tribulations were inexplicably minimized. Opposite him, Sharon Catherine Brown was a noli me tangere termagant, hard-wired to the brink of explosion – and if Gena Rowlands was half as dislikable, good for her!

As pleasant as Michaelson’s songs were, they never lifted the story. This was especially telling when the moment demanded a soaring, searing climax for Brown, but only yielded her an “I Know” duo with Gravitte.

The youthful energy and chemistry between Chloe Cheers and Kyle Mangold were nearly as powerful and volatile as their ultimate evolutions. You can see what they see in each other and why they might last: Mangold’s persistence and healthy self-image presage the crusty, battle-scarred man whose steadfastness we’ll mildly admire later. More importantly, Cheers’ caprice and spontaneity fill in the blanks to the mystery of why Old Noah still adores Old Allie.

In playing time, Ken Wulf Clark and Alysha Deslorieux draw the short straws among our protagonists as the Middles. Yet in teaming together for Allie and Noah’s epic reunion – and splashing around the stage in the iconic downpour scene that fronts the movie’s PR and DVD cover – they are undeniably gifted with the juiciest bits.

Clark even gets to receive Anne Tolpegin’s lukewarm apology for all the patrician prejudice and underhandedness of Allie’s Mother towards him. Jerome Harmann-Hardeman portrays Allie’s dad with equal hauteur and greater honesty.

Call me back when a local company decides to mount this musical at an appropriate scale. We can match the talent. No slights intended.

HEATHERS THE MUSICAL Will Launch North American Tour in Baltimore in May 2027

Fri, 22 May 2026 09:53:56 PST

Heathers the Musical will launch its first-ever North American tour May 15-22, 2027 at the Hippodrome Theatre in Baltimore, MD, traveling the country to play more than 35 cities in multiple touring seasons. The list of currently announced dates can be found below, with more dates to be announced in the future.

As BroadwayWorld previously announced, Heathers will also play Australia and New Zealand next year, with stops in Melbourne, Sydney, Adelaide, Gold Coast, Canberra, Perth, Auckland, Wellington, and Christchurch.

The New York return of Heathers celebrates its one-year anniversary at New World Stages in June 2026, where it has extended multiple times due to demand. Read the reviews here.

Based on the 1989 cult film starring Winona Ryder and Christian Slater, Heathers first premiered in Los Angeles in 2013 to sold-out audiences before transferring to New York’s New World Stages in 2014. The show was reimagined for its 2018 London debut, featuring new songs and updated script elements that are now being showcased in all international productions.

Heathers features book, music and lyrics by Kevin Murphy (Reefer Madness The Musical) & Laurence O’Keefe (Legally Blonde The Musical, Bat Boy The Musical), directed by Andy Fickman.

Welcome to Westerberg High, where popularity is a matter of life and death and Veronica Sawyer is just another of the nobodies dreaming of a better day. But when she's unexpectedly taken under the wings of three beautiful and impossibly cruel Heathers, her dreams of popularity finally start to come true. That is until J.D., the mysterious teen rebel, teaches her that it might kill to be a nobody, but it’s murder being a somebody.

The creative team includes Choreographer/UK Associate Director Gary Lloyd, with Additional Choreography by Stephanie Klemons. Set and Costume Designer is David Shields, Lighting Designer is Ben Cracknell, Sound Designer is Dan Samson, and Hair Designer is Caitlin Molloy. Co-Costume Designer is Siena Zoë Allen. Fight Director is Lisa Connell. Intimacy Coordinator is Rebecca Reaney.

Music Supervisor is Will Joy. Arrangements and Orchestrations are by Laurence O’Keefe and Ben Green. Music Coordinator is Kristy Norter. Production Management is by Tandem Production Partners. Casting is by The Telsey Office, Rachel Hoffman CSA, and Jimmy Larkin CSA. General management is by Pemberley Productions (Tim Smith, Terri Kohler).

Tour Dates

Baltimore - The Hippodrome Theatre
May 15 – 22, 2027

New Haven - Shubert Theatre
June 1 – 6, 2027

Charlotte - Belk Theater At Blumenthal Arts Center
June 29 – July 4 2027

Greenville - Peace Center
July 6 – 11, 2027

Carolina Performing Arts Will Launch ALL. TOGETHER. NOW. Festival in 2027

Thu, 21 May 2026 09:34:45 PST

Carolina Performing Arts at the University of North Carolina at Chapel Hill has announced the launch of All. Together. Now., a new multi-day arts festival taking place February 18–21, 2027.

Designed as a large-scale celebration of art, research, and community, the festival builds on Carolina Performing Arts’ annual programming and will bring people together for four days of performances, conversations, and creative experiences. The inaugural festival marks the launch of a new long-term initiative for Carolina Performing Arts and the first event of its kind at UNC–Chapel Hill, with plans to grow and evolve across the Triangle in future years.

“With All. Together. Now., we’re creating a concentrated moment that brings together creative, academic, and community-driven work across Carolina’s campus and downtown Chapel Hill,” says Alison Friedman, the James and Susan Moeser executive and artistic director of Carolina Performing Arts. “It’s about people gathering in real time, in real life; moving between events, discovering unexpected connections, and strengthening the bonds that come from shared experiences.”

Each year, the festival will be shaped by a curatorial focus—a central idea or question that guides programming, frames exploration, and invites communal discovery. For its inaugural year, that focus is love and hope: a theme that reflects the festival’s belief in art as a force for connection, possibility, and collective discovery.

“Love and hope are more than sentiments; they are commitments to the future,” says Amy Kolling, senior director of artistic and production for Carolina Performing Arts. “Artists and universities share a deep investment in asking big questions, nurturing society, and creating knowledge that moves the world forward. The work is often done in service of a future they may never fully see. That spirit of building toward possibility is what makes love and hope such a fitting foundation for the festival’s first year.”

Festival programming will unfold across three distinct types of experiences throughout the weekend:

Pass Events, accessible through the purchase of a festival day pass, include full-length performances and special events spanning dance, theater, music, film, and multimedia at venues across campus and downtown Chapel Hill.
Open Gatherings, free drop-in experiences that invite participation and exchange—from open classrooms and ask-an-expert conversations to public artmaking, student showcases, research panels, and jam sessions—developed in collaboration with campus and community partners, including the Morehead Planetarium & Science Center, the Sonja Haynes Stone Center for Research in Black Culture and History, PlayMakers Repertory Company, the Ackland Art Museum, the UNC Hussman School of Journalism and Media, and others.
Special Presentation, a separately ticketed festival event designed to accommodate anticipated demand.

Festival passes will be sold by individual day, priced to encourage exploration, and make attending multiple events more accessible, with discounted rates available for students and UNC-Chapel Hill faculty, staff, and alumni. The February timing is intentional, bringing energy during the late-winter season and creating a vibrant cultural moment ahead of spring events.

“Carolina has long been recognized for excellence in academics, athletics, and the arts—each playing an essential role in shaping the life of this University,” says Lee H. Roberts, chancellor of UNC–Chapel Hill. “All. Together. Now. reflects that tradition, bringing artists, students, faculty, and community members together across campus and downtown, highlighting the arts as a vital part of what makes Carolina such a dynamic place to learn, create, and connect.”

The full festival schedule will be released mid-August. Those interested in attending, partnering, sponsoring, volunteering, or learning more can find an interest form at carolinaperformingarts.org. Festival passes will go on sale mid-September.

DANCIN' IN THE STREET World Premiere Cast Set at Mountain Theatre Company

Wed, 20 May 2026 19:02:11 PST

Mountain Theatre Company has announced the full cast and creative team for the world premiere musical, DANCIN' IN THE STREET with book by Scott Daniel and Katie Berger Wood, and music by the artists that moved a generation, arranged by Casey Robert Reed.

Scott Daniel directs this limited-engagement three week run, which begins performances June 24th and runs to July 12th. DANCIN' IN THE STREET plays on the mainstage at the Highlands Performing Arts Center in Highlands, NC. Tickets are now on sale at www.MountainTheatre.com.

Set on a vibrant neighborhood block where every stoop has a story and every streetlight holds a memory, DANCIN' IN THE STREET is a new jukebox musical bursting with the timeless music of Motown, soul, folk, disco, and pop.

As one unforgettable summer block party approaches, three couples find themselves at emotional crossroads. Jack and Stevie struggle to admit the feelings they've hidden for years. Brenda fears her marriage to Eddie may be falling apart just as Eddie secretly plans the surprise of a lifetime. Meanwhile, neighborhood hosts Billy and Rosie work tirelessly to keep the community dancing while quietly facing a life-changing revelation of their own.

Featuring iconic hits including "Boogie Wonderland," "The Sound of Silence," "Both Sides Now," "Disco Inferno," "I Love the Nightlife," "Bridge Over Troubled Water,"and MORE, the show transforms an ordinary city block into a vibrant celebration of love, friendship, family, and the music that connects us all.

And at intermission, the celebration continues as the entire audience is invited onstage for a lively immersive block party complete with onstage bar service, allowing audiences to dance along to hits from ABBA, the Bee Gees, Earth, Wind & Fire, and more. It's theatre like you've never experienced before.

Filled with powerhouse vocals, explosive choreography, and immersive storytelling that blurs the line between audience and performer, DANCIN' IN THE STREET is a heartfelt new musical about the people who become family and the moments that bring us together.

The cast for DANCIN' IN THE STREET features Maggie Musco (SATURDAY NIGHT FEVER, Royal Caribbean) as Stevie, Robert Tait (JERSEY BOYS, Norwegian Cruise Line) as Jack, Amber Arevalo as Rosie, Leiah Lewis (HAIRSPRAY, National Tour) as Brenda, Jahmad K. Juluke (AFTER MIDNIGHT, Norwegian Cruise Line) as Billy, Trevor DeVon Neal as Eddie, Megan Littmann as Carmen, Jake Daley as Michael, Grant Domach (PETE THE CAT, National Tour), Adriana Michelle Scheer (CATCH ME IF YOU CAN, Mountain Theatre Company), Jordan Grice as Danny, and Emma Davila as Sheila.

Also joining Daniel as part of the creative team for Mountain Theatre Company's production of DANCIN' IN THE STREET are Erin Leigh Knowles (CATCH ME IF YOU CAN, Mountain Theatre Company) as Choreographer, Lori Nielsen Lindsay (JERSEY BOYS, Mountain Theatre Company) as Vocal Director, Ben Takitch (A CHARLIE BROWN CHRISTMAS, National Tour) as Sound Designer, Beck Jones (RUPAUL'S DRAG RACE) as Costume Designer, Mike Wood (HARRY POTTER: DRONE ART SHOW, International Tour) as Lighting Designer, David McQuillen Robertson (SLEEP NO MORE) as Scenic and Media Designer, Alma Kent as Production Stage Manager, Jay Warren (HAIRSPRAY, National Tour) as Master Electrician, Amy MacDonald as Costume Constructioner, Weber Scenic (THE BURNT PART BOYS, Mountain Theatre Company) for Set Construction, Hannah Beecher (GABBY'S DOLLHOUSE LIVE, National Tour) as Wardrobe Supervisor, Mack Scales (WATER FOR ELEPHANTS, National Tour) as Lighting Assistant, and Patrick O'Neill and Erin Crandall as Production Crew.

Tickets for DANCIN' IN THE STREET are available now and start at $69. Performances for the three-week limited engagement run June 24th - July 12th, and will play at the Highlands Performing Arts Center in Highlands, NC. Visit www.MountainTheatre.com for a full schedule and additional information.

Mountain Theatre Company's production of DANCIN' IN THE STREET is sponsored in part by the Highlands Chamber of Commerce/Visit Highlands, NC, Cullasaja Women's Outreach, Brad and Melissa Beard, David and Lynn Leach, Chris and Cindy Jenkins, and Mark T. Mahaffey.

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

DEATH BECOMES HER Sets Closing Date

Mon, 18 May 2026 11:00:20 PST

BroadwayWorld has just learned that the Tony Award winning and Grammy Award nominated musical, and the most nominated production of the 2024/2025 Broadway season, DEATH BECOMES HER, will conclude its Broadway run on Sunday, June 28, 2026 after 20 months, over 650 performances and 900,000 tickets sold at the Lunt-Fontanne Theatre.

Lowe Cunningham, SVP, Head of Creative & Strategy, Universal Theatrical Group said today on behalf of the producers, “Bringing Death Becomes Her to Broadway has been an incredible joy, and we are immensely proud of every artist, musician, crew member, and individual who helped make this show what it is. Night after night, it has been a thrill to watch audiences come together to laugh, celebrate, and embrace the wildly entertaining spirit of this production. We are deeply proud of what this show has brought into the world, and we are excited for its life to continue as it tours across the U.S. and beyond in the years ahead.”

DEATH BECOMES HER will launch a multi-year North American tour this September at Playhouse Square in Cleveland, OH.

DEATH BECOMES HER North American tour schedule:

CLEVELAND, OH 9/12/2026 10/3/2026 Playhouse Square
COLUMBUS, OH 10/6/2026 10/11/2026 Ohio Theatre
ST. LOUIS, MO 10/13/2026 10/25/2026 The Fabulous Fox
OMAHA, NE 10/27/2026 11/1/2026 Orpheum Theatre
NASHVILLE, TN 11/3/2026 11/8/2026 TPAC
DURHAM, NC 11/10/2026 11/15/2026 DPAC
ATLANTA, GA 11/17/2026 11/22/2026 The Fox Theatre
KNOXVILLE, TN 11/24/2026 11/29/2026 Tennessee Theatre
ORLANDO, FL 12/1/2026 12/6/2026 Dr. Phillips Center
TAMPA, FL 12/8/2026 12/13/2026 Straz
FORT LAUDERDALE, FL 12/15/2026 12/27/2026 Broward Center for the Performing Arts
NAPLES, FL 12/29/2026 1/3/2027 Artis-Naples
GREENSBORO, NC 1/5/2027 1/10/2027 The Tanger Center
BOSTON, MA 1/12/2027 1/24/2027 Citizens Bank Opera House
PROVIDENCE, RI 1/26/2027 1/31/2027 Providence Performing Arts Center
BALTIMORE, MD 2/2/2027 2/7/2027 The Hippodrome Theatre
CHARLOTTE, NC 2/9/2027 2/14/2027 Blumenthal | Belk Theater
BUFFALO, NY 2/16/2027 2/21/2027 Shea's Performing Arts Center
PITTSBURGH, PA 2/23/2027 2/28/2027 Benedum Center
GRAND RAPIDS, MI 3/2/2027 3/7/2027 DeVos Performance Hall
LOUISVILLE, KY 3/9/2027 3/14/2027 Overture Center
MADISON, WI 3/16/2027 3/21/2027 Overture Hall
DETROIT, MI 3/23/2027 4/4/2027 Detroit Opera House
TULSA, OK 4/6/2027 4/11/2027 Tulsa Performing Arts Center
OKLAHOMA CITY, OK 4/13/2027 4/18/2027 Civic Center Music Hall
HOUSTON, TX 4/20/2027 4/25/2027 The Hobby Center
AUSTIN, TX 4/27/2027 5/2/2027 Bass Concert Hall
SAN ANTONIO, TX 5/4/2027 5/9/2027 Majestic Theatre
DALLAS, TX 5/11/2027 5/23/2027 Music Hall at Fair Park
DENVER, CO 5/25/2027 6/6/2027 Buell Theatre
SAN FRANCSISCO, CA 6/9/2027 6/27/2027 Orpheum Theatre
LOS ANGELES, CA 7/6/2027 7/25/2027 Hollywood Pantages Theatre
COSTA MESA, CA 7/27/2027 8/8/2027 Segerstrom Center for the Arts
SAN DIEGO, CA 8/10/2027 8/15/2027 San Diego Civic Theatre
TEMPE, AZ 8/24/2027 8/29/2027 ASU Gammage
SACRAMENTO, CA 9/1/2027 9/5/2027 SAFE Credit Union Performing Arts Center

For more information on the tour, visit https://deathbecomesher.com/tour/.

Death Becomes her opened at the Lunt-Fontanne Theatre on November 21, 2025. Check out what the critics had to say.

Death Becomes Her at the box office.

DEATH BECOMES HER was the most nominated show of the 2024-2025 Season with 34 total nominations, including: 12 Outer Critics’ Circle Award Nominations, Five Drama Desk Award Nominations, Four Drama Leage Award Nominations, Two Chita Rivera Award Nominations, 10 Tony Award Nominations, and One GRAMMY Award Nomination for “Best Musical Theater Album.”

DEATH BECOMES HER became a viral sensation on social media following the release of the Original Broadway Cast Recording, which has been streamed over 34 million times in North America and 16 million times elsewhere worldwide. A clip of Tony Nominee Jennifer Simard performing the album’s 16th track, “Hit Me,” went viral on TikTok—peaking at #2 on the TikTok Viral Chart and #13 on the TikTok 50 Chart—with 491,000 creator uses and over 2.7 billion total views to date. The track “Let’s Run Away Together” has also gained traction on the platform, inspiring over 10,000 videos using its audio.

The cast and creative team of DEATH BECOMES HER made over 30 national television appearances during the Broadway run, completing interviews and musical performances on such programs as NBC’s Macy’s Thanksgiving Day Parade, CBS’s Tony Awards, NBC’s The Tonight Show with Jimmy Fallon, NBC’s TODAY (Four musical performances and multiple interview segments), CNN’s New Year’s Eve Live, ABC’s Good Morning America, NBC’s The Kelly Clarkson Show, Fox’s SHERRI, Bravo TV’s Watch What Happens Live, ABC’s Nightline, NBC’s Late Night with Seth Meyers, and more.

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DEATH BECOMES HER features direction and choreography by Tony Award winner Christopher Gattelli, a book by Tony Award Nominee Marco Pennette, and an original score by Tony Award Nominees Julia Mattison and Noel Carey, and stars Tony Award nominees Betsy Wolfe (Madeline Ashton), Tony Award Nominee Jennifer Simard (Helen Sharp), Tony Award Nominee Christopher Sieber (Ernest Menville), and Grammy® Award winner Michelle Williams (Violet Van Horn) with Taurean Everett (Chagall) and Josh Lamon (Stefan). The cast also features Marija Abney, Kate Bailey, Sarita Colón, Alexa DeBaar, Brayden Newby, Ximone Rose, Jonalyn Saxer, Bethany Ann Tesarck, Mitch Tobin, Sir Brock Warren, Bud Weber, Ryan Worsing, David Wright Jr., Warren Yang, Ayla Ciccone-Burton, Kristine Covillo, Alex Hartman, Lakota Knuckle, McKinley Knuckle, Justin O’Brien, Preston Perez, Amy Quanbeck, and Dee Roscioli.

DEATH BECOMES HER features scenic design by two-time Tony Award winner Derek McLane, costume design by Tony Award winner Paul Tazewell, lighting design by Tony Award winner Justin Townsend, sound design by Tony Award winner Peter Hylenski, hair and wig design by two-time Drama Desk Award winner Charles G. LaPointe, make-up design by Joe Dulude II, fight direction by Drama Desk Award winner Cha Ramos, with music supervision by Drama Desk Award winner Mary-Mitchell Campbell, orchestrations by three-time Tony Award winner Doug Besterman, music direction by Mary-Mitchell Campbell, dance & music arrangements by Tony Award nominee Sam Davis, vocal arrangements by Mary-Mitchell Campbell, Julia Mattison & Noel Carey, music coordination by Kristy Norter, casting by Tara Rubin Casting, production stage management by Rachel Sterner, and general management by 321 Theatrical Management. Marcia Goldberg serves as Executive Producer.

Madeline Ashton is the most beautiful actress (just ask her) ever to grace the stage and screen. Helen Sharp is the long suffering author (just ask her) who lives in her shadow. They have always been the best of frenemies… until Madeline steals Helen’s fiancé away. As Helen plots revenge and Madeline clings to her rapidly fading star, their world is suddenly turned upside down by Viola Van Horn, a mysterious woman with a secret that’s to die for. After one sip of Viola’s magical potion, Madeline and Helen begin a new era of life (and death) with their youth and beauty restored…and a grudge to last eternity. Life’s a bitch and then you die. Or not!

CHARLOTTE'S WEB, FINDING NEMO, and More Set For Children's Theatre of Charlotte 79th Season

Fri, 15 May 2026 08:14:35 PST

Children's Theatre of Charlotte has announced its 79th season, featuring a lineup of classics, new works, immersive experiences, and returning audience favorites. The 2026–27 season invites families, students, and theatre lovers of all ages to experience stories that inspire imagination, spark curiosity, and celebrate the power of live performance.

The season includes world premieres, Broadway favorites, sensory-friendly productions, historical storytelling, and family musicals designed to engage audiences from preschoolers to adults.

2026–27 Season Lineup

Peter Pan's Neverland Adventure: A Sensory Theatre Experience

Aug. 20–30, 2026

Wells Fargo Playhouse | For Pre-K

Created by Caleb Sigmon and made possible by the City of Charlotte and Children's Theatre of Charlotte, this immersive, participatory experience invites audiences directly into the world of Neverland. Designed especially for preschoolers — including children on the autism spectrum or with sensory sensitivities — the production features seating onstage, whimsical puppetry, music, and theatrical magic in a gentle, relaxed environment where children are free to move, explore, and play.

A Year With Frog and Toad

Sept. 19–Oct. 11, 2026

McColl Family Theatre | For All Ages

Arnold Lobel's beloved amphibious friends hop from page to stage in this Tony-nominated musical filled with jazzy songs, colorful characters, and heartwarming lessons about friendship through every season of the year.

One Noble Journey: A Box Marked Freedom

Oct. 24, 2026

Wells Fargo Playhouse | For Ages 8+

Acclaimed actor and playwright Mike Wiley brings the remarkable true story of Henry “Box” Brown to life in a powerful solo performance exploring courage, resilience, and the pursuit of freedom through audience interaction and historical storytelling.

Amelia Earhart

Nov. 14, 2026

Wells Fargo Playhouse | For Ages 8+

This immersive historical drama by Kathryn Schultz Miller follows the life and enduring legacy of aviation pioneer Amelia Earhart, blending thrilling adventure with the mystery surrounding one of history's greatest disappearances.

Dr. Seuss' How the Grinch Stole Christmas! The Musical

Nov. 21–Dec. 23, 2026

McColl Family Theatre | For All Ages

For the first time ever, Children's Theatre of Charlotte presents the beloved holiday classic featuring the Grinch, Max, Cindy Lou Who, and iconic songs including “You're a Mean One, Mr. Grinch.” This whimsical musical celebrates kindness, community, and holiday spirit.

Doggie On My Doorstep: A Holiday Tail

Dec. 5–23, 2026

Wells Fargo Playhouse | For Pre-K

Developed by Caleb Sigmon and Steven Levine, this dialogue-free holiday adventure returns after audience praise for its heartwarming story, physical comedy, adorable puppetry, and festive charm perfect for young audiences and first-time theatre-goers.

If You Give a Mouse a Cookie

Jan. 9–24, 2027

Wells Fargo Playhouse | For Ages 4+

Based on the beloved Laura Numeroff book, this playful stage adaptation follows one hilariously chaotic chain reaction after another when a hungry mouse asks for a cookie.

Charlotte's Web

Feb. 6–21, 2027

McColl Family Theatre | For Ages 7+

E.B. White's timeless story of Wilbur the pig and Charlotte the spider comes to life in a heartfelt adaptation celebrating friendship, loyalty, and the enduring power of kindness.

GRIMMZ Fairy Tales II: Once Upon a Rhyme

Mar. 6–21, 2027

Wells Fargo Playhouse | For Ages 8+

The sequel to the Drama League Award–nominated hit returns with high-energy theatrical effects, hip-hop storytelling, and remixed fairy tales packed with humor, rhythm, and bold imagination.

Disney's Finding Nemo: A Family Musical

Apr. 3–25, 2027

McColl Family Theatre | For All Ages

Dive into a spectacular musical adaptation of the Disney/Pixar favorite featuring dazzling puppetry, memorable characters like Dory and Crush, and an unforgettable underwater adventure about family and finding your way home.

Beneath the Baobab Tree

Apr. 17–18, 2027

Wells Fargo Playhouse | For Ages 7+

Written by Keetha B., this world premiere original play and part of The Kindness Project follows young Nia and the legendary trickster Anansi through a joyful celebration of African folklore, storytelling, and tradition.

JJ Niemann Will Lead Flat Rock Playhouse's FOOTLOOSE This Summer

Thu, 14 May 2026 21:07:49 PST

Flat Rock Playhouse will present the stage adaptation of the 1984 film FOOTLOOSE from June 12 through July 5.

Set in the town of Bomont, Texas, the musical follows Ren McCormack, played by JJ Niemann, a newcomer in a small town who challenges the local preacher, who has instituted a ban on dancing. The production features songs that became popular through the original film, including “Holding Out for a Hero,” “Let's Hear It for the Boy,” “Almost Paradise,” and the title song “Footloose.”

“Footloose will be the musical jolt of energy you've been waiting for all year. Whether you know it from the movie, the chart-topping soundtrack, or that one wedding reception line dance you can never escape, Footloose is a story that lives in your bones. At its heart, it's about a community finding its way back to itself — through music, through joy, and especially through dance. That's exactly what I hope our production brings you.” - Director Ethan Andersen

Featuring a cast featuring JJ Niemann (Hamilton, Back to the Future: The Musical, The Book of Mormon), Jared Goldsmith (Dear Evan Hansen), and Nicole Powell (Ragtime, Hairspray) will lead Flat Rock Playhouse's production of Footloose this summer. They will be joined by Saige Smith as Ariel Moore and Scott Treadway as Rev. Shaw Moore. Also featured are Lucy Werner (Rusty), Kaitlyn Smith (Urleen), Maya J. Christian (Wendy Jo), Kathleen Watson (Ethel McCormack), and Edward Michael Escamilla (Chuck Cranston).

The ensemble will include Hunter Brown, Maddie Franke, Brianna Haston, Jeff Ronan, Galloway Stevens, Amanda Tong, Lindsay Andrews, Isaiah Byrd, Sean Crothers, Mischel Johnson, Anya Jones, Noah Macam, Angelina Mancuso, and Gabe Tobierre. The production will run June 12–July 5 at the Flat Rock Playhouse Leiman Mainstage. Directed by Ethan Andersen, with choreography by Candi Boyd, musical direction by Nathan Trivers, and casting by Dale Brown, CSA and Andrea Zee.

TICKETS AND SCHEDULE

For more ticket information, call the Flat Rock Playhouse Box Office at 828.693.0731 or purchase online at www.flatrockplayhouse.org

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.

Western Piedmont Symphony to Present MASTERWORKS: MUSICAL WANDERLUST Season Finale

Tue, 12 May 2026 15:58:22 PST

Western Piedmont Symphony, the professional orchestra of the western foothills of North Carolina, will present MASTERWORKS: MUSICAL WANDERLUST on Saturday, May 16, 2026, at 7:30 p.m. at P.E. Monroe Auditorium in Hickory. Closing the Symphony's 61st season, this captivating Masterworks performance invites audiences on a musical journey across continents and cultures through a vibrant program inspired by the spirit of travel, storytelling, and adventure.

The evening's program features Karl Goldmark's Overture to Sakuntala, Georges Bizet's lively L'Arlesienne Suite No. 1, Max Steiner's beloved Casablanca Suite, and Camille Saint-Saëns' Piano Concerto No. 5, "Egyptian," a colorful and virtuosic work influenced by the composer's travels throughout North Africa and the Middle East.

"Musical Wanderlust is an intriguing journey through music inspired by Europe, the Mediterranean, Asia, Africa, and America that is as thrilling as it is memorable," said Music Director Matthew Troy. "A few of the highlights of the concert will be music from the classic film Casablanca, and a performance by internationally renowned pianist Sheng Cai, who will play Saint-Saëns' "Egyptian" Piano Concerto. We are eager to share this experience with our audience as we conclude our 61st season."

Featured guest artist Sheng Cai, the 2026 Greg Knight Endowment Guest Artist, is an acclaimed Canadian pianist praised for his expressive depth and virtuosity. He has appeared as a soloist with major orchestras worldwide, including the Toronto Symphony, Shanghai Symphony, and Philharmonie Südwestfalen. A passionate interpreter of both standard and rare repertoire, his performances and recordings have earned international critical acclaim for their color, clarity, and power.

Behind the Music: Pre-Concert Conversation with Music Director Matthew Troy
Enhance your concert experience with Behind the Music, a special pre-concert conversation led by Music Director Matthew Troy. This complimentary talk, included with concert admission, will take place from 6:30 to 6:50 p.m. in P.E. Monroe Auditorium prior to MASTERWORKS: MUSICAL WANDERLUST. Audiences are invited to gain deeper insight into the composers, inspirations, and musical connections featured on the program before the performance begins.

MASTERWORKS: MUSICAL WANDERLUST is funded with support from Century Furniture, Alex Lee, Inc., Chip and Lynn Young, and the Greater Hickory International Council. Additional support is provided by Our State magazine, Arts Culture Catawba, and the North Carolina Arts Council, a division of the Department of Natural and Cultural Resources.

How to Purchase Tickets

MASTERWORKS tickets are $20-$58 for adults. Student tickets are $10 with a valid ID. Students can purchase $10 tickets in sections A and B only when accompanied by an adult who also buys a ticket in the same section. To purchase tickets, visit wpsymphony.org, call 828.324.8603, or stop by the Western Piedmont Symphony Box Office located on the SALT Block at 243 Third Avenue NE, Hickory, NC 28601. The Box Office is open Wednesday through Friday, from 10:00 a.m. to 4:00 p.m. P.E. Monroe Auditorium, where MASTERWORKS concerts are held, is located at 625 7th Ave NE, Hickory, NC 28601.

EVITA To Be Presented By Davidson Community Players This June

Wed, 06 May 2026 17:26:19 PST

Davidson Community Players has announced its highly anticipated production of "Evita", the iconic musical with lyrics by Tim Rice and music by Andrew Lloyd Webber, June 17-28, 2026, at the Duke Family Performance Hall.

The classic rock opera is based on the story of Argentina's former first lady, Eva Peron, and her unlikely rise from poverty to entertainment celebrity to one of the most powerful political figures in midcentury Argentina.

Director Steve Kaliski served on the directing team for the 2012 Broadway revival of "Evita" starring Ricky Martin, Elena Roger, and Michael Cerveris. "'Evita' checks all the boxes," he says. "In addition to a lushly memorable score full of toe tappers and aching ballads, it also forces us to grapple with our heroes. What does it mean for an entire country to become so enamored with a charismatic yet flawed public figure? It's no wonder this show refuses to go away."

The score features some of musical theatre's most beloved songs, including "Don't Cry for Me, Argentina" and "Buenos Aires."

Leading the DCP cast is Melissa Lozada as Eva, whom Kaliski says is up to the task of taking on one of the most challenging roles in modern musical history, alongside Neifert Enrique as Che, the sharp and provocative narrator who challenges the audience at every turn. Ron Turner Diaz will portray Argentina's ambitious president, Juan Perón, bringing a commanding presence to the role. A diverse ensemble of local talent from the Metrolina region will round out the dynamic cast. The creative team also includes Tod A. Kubo (choreographer) and Matthew Primm (music director).

"Eva Perón pioneered the merger between politics and entertainment," Kaliski says. "She showed both the grace and danger of a populism led by a truly charismatic figure, and we look forward to unpacking that in this Lake Norman production."

"Evita" runs Wednesday, June 17, through Sunday, June 28, 2026, at Duke Family Performance Hall. The production is recommended for ages 10 and up. Tickets are now available and selling fast. Prices range from $20 to $45, plus NC state taxes and fees. Tickets and additional performance information are available at www.davidsoncommunityplayers.org/shows/evita or by contacting marketing@davidsoncommunityplayers.org.

Charlotte Symphony and Roof Above Will Present EMERGENCY SHELTER INTAKE FORM at Knight Theater

Tue, 05 May 2026 20:30:28 PST

The Charlotte Symphony Orchestra (CSO), in partnership with Roof Above, will present Gabriel Kahane's emergency shelter intake form as the centerpiece of its season finale concert, Copland & Kahane, on May 15 & 16 at Knight Theater.

Conducted by Music Director Kwamé Ryan, the performances mark the culmination of both the Charlotte Symphony's season-long exploration of the meaning of “home” and Kahane's tenure as the 2025–26 Spotlight Artist.

Commissioned by the Oregon Symphony in response to the growing housing crisis facing cities across the United States, emergency shelter intake form examines homelessness, displacement, and economic precarity through an oratorio-style work for voices and orchestra. Drawing on language from the shelter intake process, personal reflection, and poetry, the piece builds toward a final movement featuring a chorus of individuals directly affected by homelessness or housing instability.

In collaboration with Roof Above, the Charlotte Symphony has assembled a local chorus whose participation grounds the performance in lived experience. This partnership builds on an ongoing relationship between the two organizations, with CSO musicians regularly performing for neighbors, guests, and tenants at Roof Above's ten housing, shelter, and service locations.

“Gabriel Kahane's emergency shelter intake form is an extraordinarily powerful work that asks us to confront the realities of housing insecurity with empathy and humanity,” said Music Director Kwamé Ryan. “Those ideas become deeply personal through the voices of those in our community who have experienced these challenges firsthand.”

The performances will feature soloists Gabriel Kahane, Alicia Hall Moran, Holland Andrews, and Holcombe Waller alongside the Charlotte Symphony and community chorus. The program also includes Jennifer Higdon's “SkyLine” from City Scape, written as a tribute to Atlanta's urban landscape, and Aaron Copland's Suite from Appalachian Spring, which follows a young couple as they establish a homestead in rural Pennsylvania. Together the two works offer contrasting musical portraits of home.

The Saturday performance will be broadcast live on WDAV 89.9 and streamed at wdav.org. Radio host Fred Child — formally of American Public Media's Performance Today — will host the broadcast live from the Knight Theater.

Pre-Concert Talk

Fred Child will moderate a pre-concert talk with Music Director Kwamé Ryan, Gabriel Kahane, Roof Above CEO Liz Clasen-Kelly, and Roof Above volunteer and former shelter guest Harrison Ervin. The discussion will take place at 6:30 p.m. in the Wells Fargo Pre-Function Space at Knight Theater. Pre-concert talks are free and open to all ticket holders.

Tickets

Tickets start at $30 and are on sale now at charlottesymphony.org.

Charlotte Symphony Will Present EMERGENCY SHELTER INTAKE FORM at Knight Theater

Tue, 05 May 2026 14:58:04 PST

The Charlotte Symphony Orchestra will present Gabriel Kahane’s emergency shelter intake form as the centerpiece of its season finale concert, Copland & Kahane, on May 15 & 16 at Knight Theater. Conducted by Music Director Kwamé Ryan, the performances mark the culmination of both the Charlotte

Symphony’s season-long exploration of the meaning of “home” and Kahane’s tenure as the 2025–26 Spotlight Artist.

“Gabriel Kahane’s emergency shelter intake form is an extraordinarily powerful work that asks us to confront the realities of housing insecurity with empathy and humanity,” said Music Director Kwamé Ryan. “Those ideas become deeply personal through the voices of those in our community who have experienced these challenges firsthand.”

The performances will feature soloists Gabriel Kahane, Alicia Hall Moran, Holland Andrews, and Holcombe Waller alongside the Charlotte Symphony and community chorus. The program also includes Jennifer Higdon’s “SkyLine” from City Scape, written as a tribute to Atlanta's urban landscape, and Aaron Copland’s Suite from Appalachian Spring, which follows a young couple as they establish a homestead in rural Pennsylvania. Together the two works offer contrasting musical portraits of home.

The Saturday performance will be broadcast live on WDAV 89.9 and streamed at wdav.org. Radio host Fred Child — formally of American Public Media’s Performance Today — will host the broadcast live from the Knight Theater.

Pre-Concert Talk

Tickets

Tickets start at $30 and are on sale now at charlottesymphony.org. For press tickets, contact Deirdre Roddin at droddin@charlottesymphony.org.

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.

THE COLOR PURPLE Closes Theatre Charlotte's 98th Season

Wed, 29 Apr 2026 17:14:10 PST

Theatre Charlotte has announced its final production of Season 98, The Color Purple, running May 8-24. Based on the Pulitzer Prize-winning novel by Alice Walker, this deeply moving musical brings an unforgettable story of resilience, healing, and self-discovery to the stage.

Directed by Corey Mitchell, with music direction by Charlene Miranda Corbett and choreography by Stacy Dagge, The Color Purple features a cast of 23 local artists in a production that promises both emotional depth and musical brilliance.

Set in the American South in the early 20th century, the story follows Celie, a young Black woman whose life is shaped by hardship, separation, and injustice. Through it all, she embarks on a transformative journey-discovering her voice, reclaiming her identity, and finding strength in the power of love. With a soul-stirring score rooted in jazz, gospel, ragtime, and blues, the musical brings new life to a beloved story.

The cast is led by Keston Gary as Celie, alongside Chanel Abreu as Nettie, Arnold Grevious as Pa, Rahman Williams as Mister, Nehemiah Lawson as Harpo, Germôna Sharp as Sofia, and K. Alana Jones as Shug Avery.

Director Corey Mitchell is the Founder and Artistic Director of Theatre Gap Initiative and the inaugural recipient of the Tony Award for Excellence in Theatre Education. He also spent 20 years as a Theatre Arts Educator at Northwest School of the Arts in Charlotte.

When asked what audiences should expect, Mitchell shared, "You are in for a beautiful story about perseverance and fortitude." He adds that above all, this is a "show about love."

As the closing production of Theatre Charlotte's 98th season, this show serves as both a celebration of artistry and a powerful reminder of the stories that connect us.

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

Review: A RAISIN IN THE SUN at Lee St. Theatre

Tue, 28 Apr 2026 23:18:00 PST

THE LIMITED DEBUT OF “A RAISIN IN THE SUN”
AT LEE ST. THEATRE

A Raisin In the Sun, a timeless classic written by Lorraine Hansberry, the first African-American woman to produce a play on Broadway, was recently performed as a limited run, at Lee St. Theatre, in Salisbury, North Carolina. The play is a depiction of the Younger family, a working-class African-American family in 1950s Chicago, striving for a better life after receiving a $10,000 life insurance settlement after the death of the family's patriarch.

As an African-American woman whose childhood in the 1960s reflected many of the same societal realities showcased in A Raisin In The Sun, I can deeply relate to the message that my favorite female playwright, Lorraine Hansberry, so powerfully conveyed. My parents, like the Youngers, were committed to creating better opportunities for me despite the imposed limitations of segregation.

Although the weather outside was drab and cloudy, the atmosphere inside this intimate black box theatre was warm and inviting. The assembled cast was definitely the right ones to deliver such a layered and meaningful exploration of racism, sexism, masculinity within the household structure, and generational expectations in parenting.

The cast was phenomenal. My favorite was the youngest member of the Younger family, Travis Younger (Thierry Agnant). This young actor was a joy to watch. His upbeat persona lightened the atmosphere of the strict demeanor of the adults who each had their own set of issues. He was so carefree, even though he was sleeping on the couch in the livingroom, without complaint. He was fun to watch and I instinctively felt like he was generally having a great time.

Lillie Oden (Lena Mama Younger And
Thierry Agnant (Travis Younger)
Photo Courtesy Of Lee St. Theatre

Equally compelling, was the matriarch of the family, Lena “Mama” Younger, portrayed by superbly talented Lillie Oden, whom I have previously seen in productions including: Steele Magnolias, Shakin The Mess Outta of Misery, and A Soldier’s Play. She undeniably delivered the essence of Lena “Mama” Younger--wise, engaging, nurturing, strong; yet feminine at the same time. Lillie’s character embodied the glue and backbone of a complex family unit—something many women will instantly recognize and appreciate.

Mason Livers completely embodied the role of Walter Lee Younger, a man burdened by societal limitations placed on African-American men during that era, particularly restricted employment opportunities such as working as a chauffeur. These limitations often served as “dream killers.” Walter Lee’s dream of owning a liquor store was admirable; however, his method of pursuing that dream proved unreliable and ultimately devastating to the family’s financial hopes. Still, Livers skillfully portrayed the personal, sociological, and psychological pressures faced by Black men striving to balance their roles as providers, husbands, sons, and fathers—pressures that remain relevant today. In the end, Walter Lee made the courageous decision to stand for his family’s dignity, that allowed them to move into the neighborhood Lena “Mama” Younger chose as the first African-American family in an All-White community—even though they were clearly unwelcome.

Beneatha Younger (Nikki Dunn) seemed to be confused and searching to find her identify through her ethnicity, career aspiration, and relationships. It was hilarious when Beneatha broke out in a seemingly African dance adorned in a Kaftan that her Nigerian love interest, Joseph Asagai (Andrew Monroe) gave her as a gift. She even changed her hairstyle from the flowing-down-the-back European hairdo to her natural, full-blown Afro. Her emotional shift to anger and heartbreak when Walter Lee revealed he had failed to deposit her medical school tuition—entrusted to him by Lena “Mama” Younger — but instead had given it all to a scam artist. Beneatha’s journey reflect the struggles many women faced in the 1950s while resisting expectations that confined them solely to domestic roles instead of professional careers such as medicine.

Nikki Dunn As Beneatha Younger
Photo Courtesy Of Lee St. Theatre

Ruth Younger (Tameka Brown) is the only person who was not born into the Younger saga, but became a part of their plight through marriage. Her position was extremely hard because she was married to an egotistical man who did not consider her desires; only his own. It was as if Walter Lee considered her a major part of the problem and never a part of the solution. In an essence she was trapped in a situation that she didn’t create but blamed for it as if she did. She displayed pure love for her husband…in spite of the struggles.

Ruth Younger (Tameka Brown) & Mason Livers (Walter Lee Younger)
Photo Courtesy: Lee St. Theatre

Similarly, to playwright August Wilson, Lorraine Hansberry captured the African-American experience and struggles in a visual performance that is as relevant TODAY as it was in the 1950s. I learn something new each time I see this timeless masterpiece, and I have seen it a dozen times or more.

I want to thank Lee St. Theatre for promoting African American theatre at its finest. Our stories must be told so that our children’s children will know the struggles we have overcome. Thanks for a well-done performance.

***For More Information About Lee St. Theatre Visit Website https://leestreet.org/

Lillie Oden (Lena "Mama" Younger)
Nursing Her Plant
Photo Courtesy Of Lee St. Theatre

Tameka Brown (Ruth Younger & Thierry Agnant (Travis Younger)
Photo Courtesy Of Lee St. Theatre

CARMEN, TURANDOT & ORFEO & EURIDICE Set for North Carolina Opera 2026-27 Season

Tue, 28 Apr 2026 17:37:27 PST

North Carolina Opera has unveiled its 2026-2027 season, featuring three operas. The season includes Bizet's Carmen, Puccini's Turandot, and the company premiere of Gluck's Orfeo & Euridice in concert.

Carmen

The season opens October 16 and 18, 2026, with Bizet's Carmen at Raleigh Memorial Auditorium. Conducted by Joseph Mechavich and directed by Denyce Graves, the production features Gina Perregrino in the title role, alongside Eric Taylor as Don José, Laureano Quant as Escamillo, and Elana Gleason as Micaela. One of the most popular operas ever written, Carmen pairs bold melodies and irresistible rhythms with a story of desire, obsession, and consequence.

Turandot

In February, North Carolina Opera presents the company premiere of Puccini's Turandot (February 5 and 7, 2027), conducted by Antony Walker and directed by John Hoomes. The production stars Wendy Bryn Harmer as Princess Turandot, Jonny Kaufman as Calaf, Caitlin Gotimer as Liù, and Adam Lau as Timur. Featuring some of Puccini's most expansive writing, including "Nessun dorma," Turandot brings monumental scale and opulence to the stage.

Orfeo & Euridice

The season concludes April 18, 2027, with a one-night-only performance of Gluck's Orfeo & Euridice in concert at Meymandi Concert Hall, marking another company premiere. Conducted by Gary Thor Wedow, the performance features Elizabeth DeShong as Orfeo and Magdalena Kuźma as Euridice. Here, the myth is stripped to its core, with the music carrying the full weight of the emotion.

"We're energized by the way Triangle audiences are engaging with opera as an event to be shared," said Eric Mitchko, General Director. "We're seeing people come in with curiosity and leave fully connected, and that momentum is shaping how we build a season. Each of these works relies on the power of the human voice to carry the drama forward, creating an experience that rewards being in the room, as scale, sound, and storytelling come together in a way that can't be replicated anywhere else."

All performances take place at the Martin Marietta Center for the Performing Arts in downtown Raleigh. Carmen and Turandot will be fully staged productions in Raleigh Memorial Auditorium, while Orfeo & Euridice will be presented in concert in Meymandi Concert Hall.

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.

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.

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Review: A RAISIN IN THE SUN at Lee St. Theatre

THE LIMITED DEBUT OF “A RAISIN IN THE SUN” AT LEE ST. THEATRE

CARMEN, TURANDOT & ORFEO & EURIDICE Set for North Carolina Opera 2026-27 Season

Carmen

Turandot

Orfeo & Euridice

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

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

THE LIMITED DEBUT OF “A RAISIN IN THE SUN”
AT LEE ST. THEATRE