BroadwayWorld.com Cleveland Stories

Review: THE GREAT GATSBY: A NEW MUSICAL at Connor Palace

Fri, 12 Jun 2026 17:15:39 PST

F. Scott Fitzgerald's iconic 1925 novel "The Great Gatsby" has been adapted into everything from plays and movies to television shows, ballets, and a video game. While rarely made into a musical (the first being The Yale Dramatic Association's in 1956), 2024's Tony Award-winning THE GREAT GATSBY: A NEW MUSICAL with music by Jason Howland, lyrics by Nathan Tysen, and a book by Kait Kerrigan, roared into Cleveland this week to close out Playhouse Square's 2025-26 KeyBank BROADWAY SERIES in style.

Billed as a grand production befitting the 21st century, the two-act, two-and-a-half-hour Art Deco spectacle set in the 1920s jazz era was essentially two musicals in one.

The first act, up to the beginning of the second act, was a musical comedy, a rather unusual take on a masterpiece of American dramatic literature, but one that proved surprisingly funny and quite entertaining. The remainder of the second act was more in keeping with the tone of the novel's tragic love story and its dark critique of the American Dream, exploring themes of wealth, class, morality, and disillusionment among Long Island's elites.

The familiar tale of mysterious millionaire Jay Gatsby (Jake David Smith) and his obsession with former lover Daisy Buchanan (Senzel Ahmady) is told through the eyes of Daisy's cousin and Gatsby confidant, Nick Carraway, portrayed brilliantly by Joshua Grosso, using dialogue and twenty dialogue-driven songs that draw on direct quotes from the novel paired with new material written for the production.

Joshua Grosso (Nick Carraway) and the First National Touring Company of THE GREAT GATSBY. Photo by Evan Zimmerman for MurphyMade.

While not a completely faithful adaptation of the novel, the musical roughly followed its main plot during its performance this past Wednesday, June 10, at Playhouse Square's Connor Palace theater.

Missing from it were several characters from the novel, including the owl-eyed man, as well as some scenes. The production's 21st-century perspective also meant that it adopted a modern feminist approach to its female characters' thinking and invented an engagement plotline for Nick and Daisy's amateur golfer friend, Jordan Baker, portrayed with spunk and aloof coolness by Leanne Robinson, that is not found in the novel. New scenes and character motivations were also added.

Howland's emotive jazz- and pop-infused score for the musical was performed solidly by a live orchestra with several local musicians, led by conductor Charlie Alterman. And while none of the show's twenty songs were the type of stand-alone hits audience members would likely go home singing, a half-dozen of them were in-the-moment beauties, including lively opener "Roaring On," sung by Grosso and the show's multi-generational and multi-talented ensemble.

In addition to the first act introducing the audience to the production's main characters through several illustrative song-and-dance numbers, we got our first look at Linda Cho's glitzy, Tony Award-winning Roaring Twenties-inspired costumes, infused with Vegas showgirl and Liberace-style boldness.

One of those song beauties, "New Money," sung by Jordan, Nick, and the company, came during Nick's initial visit with cousin Daisy and her loud, philandering husband Tom (Will Branner), whom she calls a brute for his alcohol-fueled tidares and physical abuse of her. The song transitions the scene to one of Jay Gatsby's opulent and raucous parties that Jordan has heard of, filled with glamour, merrymaking guests, and fireworks. Nick and Jordan arrive in Gatsby's yellow Rolls-Royce, which rolls onto the stage.

After being summoned by the mysterious Gatsby, who's not attending his own shindig, Nick and Jay talk about their shared WWI experience, including veiled references to PTSD, Jay's time at Oxford, his affair with Daisy before her marriage to Tom, and his unyielding desire to rekindle their relationship with Nick's help.

Jake David Smith (Jay Gatsby) in the First National Touring Company of THE GREAT GATSBY. Photo by Evan Zimmerman for MurphyMade.

Unlike the suave bon vivant portrayals of Gatsby by Robert Redford and Leonardo DiCaprio, Smith's demeanor as Gatsby was more rom-com-neurotic. He was a bit clumsy, and given to comedic double takes and vocal inflections. Together, Smith and Grosso's humorous banter was like watching a classic Bob Hope and Bing Crosby buddy film.

Another of the first act's memorable songs, "For Her," sung by Smith, followed. Pining for Daisy, the song showcased Smith's considerable vocal chops, combining choir-boy etherealness with extended-note belting stamina.

Ahmady as Daisy also got to show off her vocal chops in the heartfelt "For Better or Worse," where she resigned herself to a compromised life with Tom and the one thing good in their lives, their infant daughter.

Senzel Ahmady (Daisy Buchanan) from the North American Touring company of THE GREAT GATSBY. Photo by OD Company.

Perhaps the funniest scene in the act was Nick being duped by Tom and his mistress, Myrtle (Lila Coogan), into going to a house of ill repute, where he got drunk and a swinger couple propositioned him. The scene, filled with double entendres and slapstick humor, was bonzer.

Act One concluded with the tune "My Green Light," sung by Smith and Ahmady, alluding to the light seen from Gatsby's mansion across Long Island Sound to the boat dock at Daisy's mansion, which represents his deep emotional connection to her.

Edward Staudenmayer (Meyer Wolfsheim) in the First National Touring Company of THE GREAT GATSBY. Photo by Evan Zimmerman for MurphyMade.

The show's second act kicked off with another song-and-dance gem, "Shady," performed with Broadway moxie and power by Edward Staudenmayer as Gatsby's mobster partner, Meyer Wolfsheim, who was said to have fixed the World Series, and the show's ensemble. Staudenmayer was exceptional in the show-stealing scene that marked the end of the production as a musical comedy.

The remainder of the show leaned into the drama and tragedy of the characters' lives, in which relationships and plans fell apart with gut-punching regularity.

Several more memorable musical numbers sprinkled the act, beginning with Smith's phenomenal performance as Gatsby singing "Past Is Catching Up to Me" after a heated argument with Nick over his delusions of a future life with Daisy, with Nick telling Gatsby, "You can't repeat the past." Gatsby replying, "You don't want to live in regret, old sport."

That was followed by show choreographer Dominique Kelley's best effort, a marvelously danced tap sequence contained within the showstopping song-and-dance number, "La Dee Dah with You," performed by Joann Gilliam as singer Gilda Gray and the company during the second of Gatsby's over-the-top parties.

The First National Touring Company of THE GREAT GATSBY. Photo by Evan Zimmerman for MurphyMade.

The meat of THE GREAT GATSBY: A NEW MUSICAL as a tragedy then followed in quick succession. A return to the Valley of Ashes and to George and Myrtle Wilson's service station home revealed that Myrtle was pregnant with Tom Buchanan's baby, and the poignant song "One-Way Road," about being "the other woman," was sung with heart by Coogan as Myrtle.

Tally Sessions (George Wilson) in the First National Touring Company of THE GREAT GATSBY. Photo by Evan Zimmerman for MurphyMade.

The scene also delved into George's (Tally Sessions) anger with Myrtle and his equating a giant advertising billboard overlooking his business for an oculist in Queens, featuring two giant eyes wearing glasses as the eyes of God who sees everything. This nod to the novel's famous cover art, Spanish artist Francis Cugat's painting "Celestial Eyes," was a nice touch.

Per the novel, Myrtle is hit by Gatsby's Rolls Royce that Daisy is driving and killed; George, in a fit of rage, blaming Gatsby, shoots him dead at his home and himself, and Nick and Jordan break up over her attitudes concerning accountability.

Jake David Smith (Jay Gatsby) in the First National Touring Company of THE GREAT GATSBY. Photo by Evan Zimmerman for MurphyMade.

The musical ended, as the novel does, with Nick's prophetic words: "so we beat on, boats against the current, borne back ceaselessly into the past."

THE GREAT GATSBY: A NEW MUSICAL runs through June 28, 2026, as part of the KeyBank Broadway Series at Playhouse Square's Connor Palace theater, 1615 Euclid Avenue in Downtown Cleveland. Showtimes are Tuesdays – Fridays at 7:30 p.m., Saturdays at 1:30 and 7:30 p.m., and Sundays at 1:00 and 6:30 p.m. Tickets are $34.80 to $174 and are available at playhousesquare.org. For more information on ticket sales, call (216) 241-6000. For group sales, call (216) 640-8600.

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.

Previews: LADIES OF THE ’80S at Mimi Ohio Theatre

Fri, 05 Jun 2026 15:18:06 PST

Cleveland’s Dancing Wheels Company goes back to the future for its upcoming 45th Anniversary Gala Benefit Production, Ladies of the ’80s.

Founded in 1980 by Mary Verdi-Fletcher, America’s oldest physically integrated dance troupe revisits the era’s music by highlighting several female artists who helped define the period, in a program of new contemporary dance works celebrating the company’s 45th Anniversary.

The Gala Benefit performance on Saturday, June 13, 2026, at Playhouse Square’s Mimi Ohio Theatre, will premiere three works for the company by a trio of female choreographers. The nostalgic evening will also include an appearance by performers from the School of Dancing Wheels.

A special VIP pre-performance party will kick off the Gala at 6:30 p.m. at the nearby BIN 216 restaurant, benefiting the School of Dancing Wheels. VIP ticket holders will enjoy hors d’oeuvres, specialty beverages, and a silent auction in addition to Dress Circle seating for the Gala performance.

(Front) Annette Ellis rehearsing “Leather, Lace, and Legends.” Photo by Sara Lawrence-Sucato.

Dancers rehearsing “Leather, Lace, and Legends.” Photo by Sara Lawrence-Sucato.

At 8 p.m., the 70-minute intermissionless Gala performance will begin with former Dancing Wheels company dancer Annette Ellis’s new contemporary dance work “Leather, Lace, and Legends.” The piece for nine dancers, infused with jazz and modern dance influences, is set to music by Stevie Nicks, Blondie, Joan Jett, Pat Benatar, and The Go-Go’s.

Says Ellis: The energetic 12 ½ minute piece will feature five female company dancers representing each of the five female rockers whose music I have chosen. I, along with the dancers portraying those featured roles, sought to capture each artist’s Stage Presence and persona.

“For Stevie Nicks, we have tried to capture her soft yet strong, edgy mystical bohemian vibe,” says Ellis. “For Debbie Harry of Blondie, we were going for a cool, confident, independent punk-rocker feel. Then, for Joan Jett, we have painted a picture of a badass rock-and-roll rebel. For Pat Benatar, we have tried to capture her intensity as a singer and performer, and for the Go-Go’s, we wanted to bring out the group’s “Girl Next Door” energy as upbeat and playful performers.

Following Ellis’s dynamic show opener, student dancers from the School of Dancing Wheels will present the 80s-themed “Tonight,” a new work by Dancing Wheels’ Director of Education, Sara Lawrence-Sucato, with contributions from members of the School of Dancing Wheels Performance Ensemble.

Set to music by Gloria Estefan & Miami Sound Machine and Kylie Minogue, a cast of ten from the School’s In-studio and Outreach Programs, along with the Performance Ensemble, will dance the pulsating 5-minute piece.

(Front) Dianne McIntyre rehearsing “ATTITUDE.” Photo by Sara Lawrence-Sucato.

Dancers rehearsing “ATTITUDE.” Photo by Sara Lawrence-Sucato.

Next, the company will premiere internationally renowned choreographer and Cleveland native Dianne McIntyre’s “ATTITUDE.” The 14-minute work, for nine dancers in three sections, is performed to the music of Patti LaBelle and Anita Baker.

“The feeling of the lyrics inspired me and the energy of the piece,” says McIntyre.

McIntyre says with the heartfelt and encouraging work, she also wanted to honor the music’s structure and the women who brought it to life.

Concluding Ladies of the ’80s will be the premiere of current company member Angelina DiFranco’s latest work for the company, “The Time of My Life,” set to the song of the same name by Jennifer Warnes and Bill Medley.

Dancers rehearsing “The Time of My Life.” Photo by Sara Lawrence-Sucato.

The 7-minute work for nine dancers, including DiFranco, was inspired by the iconic 1987 movie Dirty Dancing. Says DiFranco: “I was motivated to share the film’s joy of movement, romance, and discovery, and to encourage the audience’s involvement in helping to close out the gala in a deeply memorable and cathartic way.”

Immediately following the performance, all guests will be invited back into the theater lobby for a champagne dessert reception to meet the artists and continue the Gala celebration.

Dancing Wheels Company and School presents its 45th Anniversary Gala Benefit Production, Ladies of the ’80s, Saturday, June 13, 2026, at Playhouse Square’s Mimi Ohio Theatre, 1511 Euclid Ave, Cleveland, Ohio.

General Admission tickets are $60 each (fees included) and are available online at playhousesquare.org/events/detail/ladies-of-the-80s or by calling (216) 241-6000.

The group rate for 10 General Admission tickets is $350. Tickets can be purchased online at dancingwheels.org/event/ladies-of-the-80s or by calling (216) 432-0306.

VIP tickets are $150 each. Tickets can be purchased online at dancingwheels.org/event/ladies-of-the-80s or by calling (216) 432-0306.

DEATH BECOMES HER Tickets to Go on Sale for Playhouse Square Engagement

Thu, 04 Jun 2026 19:53:18 PST

Tickets for the Tony Award-winning musical comedy, DEATH BECOMES HER, will go on sale Friday, June 5, at 10 a.m. for its three-week engagement at Playhouse Square September 12 – October 3.

Lowe Cunningham, producer of DEATH BECOMES HER and Senior Vice President, Head of Creative & Strategy at Universal Theatrical Group, said, “It has been such a joy bringing DEATH BECOMES HER to life on stage and I'm beyond thrilled to be embraced as we have by Broadway audiences. On behalf of the entire creative team and company, we are so proud that we will be able to share this musical and entertain audiences with laughter across the country for years to come with this tour.”

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. See it now and laugh for eternity.

DEATH BECOMES HER features direction and choreography by Tony Award winner Christopher Gattelli, a book by Marco Pennette, and an original score by Julia Mattison and Noel Carey.

DEATH BECOMES HER features scenic design by two-time Tony Award winner Derek McLane, costume design by Tony Award and Academy 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 LaPointe, make-up design by Joe Dulude II, fight direction by Drama Desk Award winner Cha Ramos, with music supervision by Tony Award and Drama Desk Award winner Mary-Mitchell Campbell, orchestrations by three-time Tony Award winner Doug Besterman, music direction by Ben Cohn, dance & music arrangements by Tony Award nominee Sam Davis, vocal arrangements by Tony Award and Drama Desk Award winner Mary-Mitchell Campbell, Julia Mattison & Noel Carey, music coordination by Kristy Norter, casting by The TRC Company, and general management by 321 Theatrical Management. Marcia Goldberg serves as Executive Producer.

The Original Broadway Cast Recording of DEATH BECOMES HER is available via Concord Theatricals Recordings on all streaming and digital platforms and CD and 2-LP vinyl.

Tickets are available online at playhousesquare.org or by calling 216-241-6000. Groups of 10 or more are encouraged to call 216-640-8600. DEATH BECOMES HER is part of the KeyBank Broadway Series at Playhouse Square and is launching its national tour in Cleveland with this engagement.

DEATH BECOMES HER Tickets to Go on Sale for Playhouse Square Engagement

Thu, 04 Jun 2026 19:53:18 PST

Tickets for the Tony Award-winning musical comedy, DEATH BECOMES HER, will go on sale Friday, June 5, at 10 a.m. for its three-week engagement at Playhouse Square September 12 – October 3.

DEATH BECOMES HER features direction and choreography by Tony Award winner Christopher Gattelli, a book by Marco Pennette, and an original score by Julia Mattison and Noel Carey.

The Original Broadway Cast Recording of DEATH BECOMES HER is available via Concord Theatricals Recordings on all streaming and digital platforms and CD and 2-LP vinyl.

ADRENALIZE to Kick Off Ohio Summer Concert Season with Def Leppard Tribute Shows

Thu, 04 Jun 2026 18:33:27 PST

Adrenalize - The Ultimate Def Leppard Experience is bringing the music of one of rock's most iconic bands to outdoor audiences across Ohio and beyond.

The nationally recognized tribute act will launch its summer outdoor concert schedule this weekend with two highly anticipated Ohio appearances. On Friday, June 5, Adrenalize will headline the season-opening concert of Wilmington's Friday Night Summer Concert Series, a popular downtown tradition that brings music fans together throughout the summer for free outdoor concerts in the heart of the city. As the featured performer launching the 2026 season, Adrenalize is proud to help begin another summer of live music and community celebration in Wilmington.

The following evening, Saturday, June 6, the band travels to LA-Z Acres Campground in Nashport, Ohio, one of the Midwest's most unique outdoor concert destinations.

Known for its impressive concert grounds, massive video wall, professional production, and enthusiastic crowds, LA-Z Acres Campground has become one of Ohio's most distinctive outdoor concert destinations. Throughout the season, campers from across the property make their way to the concert grounds - many arriving by golf cart - to experience the evening's entertainment. With its state-of-the-art presentation, community atmosphere, and passionate audience, the venue provides the perfect setting for Adrenalize's arena-sized tribute to Def Leppard.

Widely regarded as the country's leading Def Leppard tribute experience, Adrenalize recreates the sound, energy, and excitement of a classic Def Leppard concert with remarkable attention to detail. More than simply performing the songs, the band is committed to honoring the music, legacy, and spirit of one of rock's most influential and enduring acts. From the soaring harmonies and dual-guitar attack to the authentic visual presentation, Adrenalize delivers the music with the same passion, respect, and integrity that have made Def Leppard a global arena rock phenomenon for more than four decades.

Fans can expect performances featuring favorites such as "Photograph," "Rock of Ages," "Hysteria," "Animal," "Foolin'," "Rocket," "Bringin' On The Heartbreak," and, of course, "Pour Some Sugar On Me," presented with the power and precision that have earned Adrenalize a growing reputation among theaters, festivals, casinos, and concert venues nationwide.

The Ohio performances are just the beginning of a busy summer schedule that includes both outdoor festivals and headline theater appearances.

Upcoming Adrenalize Dates:

June 5 - Friday Night Concert Series - Wilmington, OH

June 6 - LA-Z Acres Campground - Nashport, OH

June 13 - Appalachian Harley-Davidson's 25th Birthday Bash - Mechanicsburg, PA

June 26 - Penn Theater - Butler, PA

June 27 - Pennsylvania Roundhouse Rally - Altoona, PA

Additional dates continue throughout the summer and fall.

For tickets, show information, and a complete tour schedule, visit AdrenalizeBand.com.

About Adrenalize

Adrenalize - The Ultimate Def Leppard Experience is dedicated to celebrating the music and legacy of Def Leppard through authentic live performances that capture the excitement of the band's legendary arena tours. Performing for audiences across the United States, Adrenalize has become the country's leading Def Leppard tribute experience, earning praise for its musicianship, attention to detail, and commitment to delivering a first-class concert experience.

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.

Ensemble Theatre of Cleveland to Present 2026-2027 Season With World Premiere and Cleveland Debuts

Wed, 03 Jun 2026 21:39:48 PST

Ensemble Theatre of Cleveland has announced its 2026–2027 season, featuring 2 Cleveland Premieres and a World Premiere, that include an award-winning contemporary drama, a classical adaptation, a world-premiere new play, and a powerful exploration of American history.

The season reflects Ensemble's ongoing commitment to producing thought-provoking theatre that sparks conversation, and deepens community engagement.
All performances are Fridays, Saturdays @7:30 and Sundays @ 2:00 for 3 weekends, unless indicated otherwise.

THE FERRYMAN By Jez Butterworth 

Cleveland Premiere

Directed by Ian Wolfgang Hinz and Rebecca Moseley :: October 2–18, 2026

Northern Ireland, 1981. Former IRA man Quinn Carney has built a new life on a remote farmhouse in County Armagh, surrounded by a sprawling, boisterous family on the eve of the harvest. But when a long-buried body surfaces from a bog, the past comes knocking — and with it, dangerous men who refuse to let old loyalties die. What unfolds is a sweeping, mythic collision of family, secrets, and violence that reaches all the way back through Irish history and folklore. The Ferryman is a breathtaking, unforgettable epic that questions whether any of us can ever truly outrun where we come from.

THE BURIAL AT THEBES By Seamus Heaney

Directed by Rebecca Moseley :: February 5–21, 2027

Nobel Prize winner Seamus Heaney's powerful adaptation of Sophocles' Antigone explores the timeless conflict between individual conscience and state authority. Antigone has defied the king. When Creon, ruler of Thebes, decrees that her brother's body shall rot unburied as punishment for treason, Antigone chooses loyalty to the gods and the dead over obedience to the state — and pays a devastating price. Heaney's searing translation of Sophocles' ancient tragedy strips the play to its blazing moral core: what do we owe the living, and what do we owe the dead? Written in the shadow of the Iraq War, its themes of power, dissent, and human dignity feel as urgent today as they did in fifth-century Athens. A spare, fierce, and deeply human work — essential theatre. In this outstanding translation, commissioned by Ireland's renowned Abbey Theatre to commemorate its centenary, Seamus Heaney exposes the darkness and the humanity in Sophocles' masterpiece, and inks it with his own modern and masterly touch. Originally produced by Ensemble Theatre in the Brooks theatre in 2006 directed by the late founding artistic director Lucia Colombi. Join us for this timely re-examination of this classic tale translated by one of the greatest poets of the day.

2027 COLOMBI NEW PLAYS FESTIVAL

SHE WALKS IN BEAUTY By Jeanne Madison 

World Premiere

Directed by Celeste Cosentino:: World Premiere! March 11–21, 2027

Set in a very different Garden of Eden than the one we might recognize, Lilith and Eve —Adam's first and second wives—go head-to-head and toe-to-toe on a woman's true power, the nature of knowledge, and humanity's eternal desires. Told with humor, magical realism, and sharp insight, She Walks in Beauty explores both everyday concerns and existential questions, including what to do with all the plastic invading Eden. Audiences may find themselves rethinking some of their most closely held beliefs.

**Performances run Thursdays through Sundays for two weekends.

**This full length world premiere signals a recommitment to premiering new works that have been developed through Ensemble Theatre's Stagewrights Unit and presented as readings during the Colombi New Plays Festival by local Cleveland playwrights. The Stagewrights unit meets virtually bi-weekly. More information about participating in the Stagewrights Unit is available on our website.

THE RECLAMATION OF MADISON HEMINGS By Charles Smith 

Cleveland Premiere

Directed by Ian Wolfgang Hinz :: May 28th, 2027-June 13th, 2027

With “Reclamation” Ensemble welcomes back playwright Charles Smith to our stage. Originally commissioned by Indiana Repertory Theatre and inspired by historical events, Charles Smith's compelling drama offers a deeply human look at the complexities of American history and the stories that continue to shape our nation. It's 1866, one year after the end of the Civil War. Madison Hemings, son of Thomas Jefferson and Sally Hemings, and Israel Jefferson, formerly enslaved footman, return to their birthplace of Monticello in hopes of reuniting with Israel's brother. Finding the formerly majestic estate near ruin, Madison attempts to claim what's rightfully his by stripping the architectural features of the house he helped build. Both men are confronted with their conflicting feelings about the man who wrote “all men are created equal.” Israel advises Madison to consider the memories of the other families, hundreds of people, who were enslaved at Monticello, rather than loading down the wagon they need to carry them back to Ohio. When their wagon collapses under the weight of the salvaged load, they are forced to carefully consider the main question of the play—what do we need to keep with us as we move through this world, and what should we leave behind?

Ensemble patrons will remember past Ensemble Theatre productions of Charles Smith plays Freeman of Color, Knock me a Kiss, The Gospel According to James, Jelly Belly, and Golden Leaf Ragtime Blues.2026/2027 Season Memberships on sale now. Single tickets on sale June 8th! www.ensembletheatrecle.org (Box Office Tab) :: 216-321-2930.

Ensemble Theatre of Cleveland to Present 2026-2027 Season With World Premiere and Cleveland Debuts

Wed, 03 Jun 2026 21:39:48 PST

THE FERRYMAN By Jez Butterworth 

Cleveland Premiere

Directed by Ian Wolfgang Hinz and Rebecca Moseley :: October 2–18, 2026

THE BURIAL AT THEBES By Seamus Heaney

Directed by Rebecca Moseley :: February 5–21, 2027

2027 COLOMBI NEW PLAYS FESTIVAL

SHE WALKS IN BEAUTY By Jeanne Madison 

World Premiere

Directed by Celeste Cosentino:: World Premiere! March 11–21, 2027

**Performances run Thursdays through Sundays for two weekends.

THE RECLAMATION OF MADISON HEMINGS By Charles Smith 

Cleveland Premiere

Directed by Ian Wolfgang Hinz :: May 28th, 2027-June 13th, 2027

Review: FREAK THE MIGHTY at Cleveland Play House

Tue, 02 Jun 2026 22:40:08 PST

A new superhero duo is emerging at The Cleveland Play House this month. Filled with bravery, this pair will not only protect your heart, but steal it as well. Freak The Mighty is a new musical premiering at The Cleveland Play House this month. Filled with memorable characters and unforgettable moments, this new work is sure to delight audience members of any age.

Netza Jimenez, Cornelius Kittrell, & the cast of Freak The Mighty

Freak The Mighty is a musical adaptation of the young adult novel by Rodman Philbrick. The story follows two young boys, Maxwell Kane and Kevin “Freak” Avery, who form an unlikely friendship and embark on extraordinary adventures together.

The book and lyrics are written by Anthony Drewe. The book is a triumph, mainly because it successfully captures the relationship between the boys. The dialogue, from heated fights to endearing moments, effectively charts their journey. Mr. Drewe always seems to bring out the heart of every character he writes, and this show is no exception.

Ryan Fielding Garrett (a Baldwin Wallace University alum) has written a score that beautifully complements the lyrics. Big production numbers, such as the title song “Freak The Mighty,” capture the excitement of the piece. Smaller numbers, including “A Second Chance” and “People You Have Met,” feature beautiful melodies that provide an intimate look into the characters. I can see songs such as “Before You” becoming staples of theater repertoires for performers young and old. Director Michael Barakiva keeps the show moving at a steady pace while ensuring that the emotional character connections remain at the forefront. The staging is consistently crisp and clever.

Cornelius Kittrell & the cast of Freak The Mighty

Netza Jimenez plays Maxwell Kane with tenderness and just the right amount of angst. We meet this gentle giant in the opening number, “A Day in the Life of Maxwell Kane,” where he eloquently describes his feelings. As he sings, we watch the world dismiss him. It makes you root for him to find a meaningful connection. He finds that connection in Kevin Avery, also known as Freak, played by Cornelius Kittrell. Mr. Kittrell gives a smart and polished performance. He is a know-it-all you simply cannot help falling in love with.

Netza Jimenez & Cornelius Kittrell in Freak The Mighty

What is most impressive, however, is the work the two actors do together. The chemistry between them is undeniable. For two hours, the friendship they build on stage feels completely genuine. A highlight of the show is “King Arthur’s Round Table.” Creativity abounds as Kevin reads to Max. The characters spring to life. The boys are enthralled. Theatrical magic engulfs the stage. The two actors carry the show exceptionally well, or perhaps I should say wheel it. I never knew the imagery of one friend pushing another in a wagon could be so powerful.

The Cleveland Play House has done audiences a tremendous service by not only producing great theatre, but nurturing it. Freak The Mighty is a touching adaptation. The dialogue resonates, and the music is memorable. I truly believe the adventures of this dynamic duo are far from over.

At its core, this is a story that reminds us how important friendship and kindness can be. You can persevere. Even if you were in special needs classes when you were younger, or only grew to be five feet tall, you might even review for BroadwayWorld someday. You are more than a label. Stay strong, my freaks. Go see this show.

The Cast of Freak The Mighty

Freak The Mighty

Book & Lyrics by Anthony Drewe
Music by Ryan Fielding Garrett
Based on the Novel by Rodman Philbrick
Directed by Michael Barakiva
Choreography by Patrick McCollum
A Co-Production with Seattle Rep

May 22–June 21, 2026
Allen Theatre

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)

Previews: CHOREOLAB at Near West Theatre

Tue, 02 Jun 2026 10:58:39 PST

Cleveland Ballet’s company dancers will stretch their choreographic wings once again in the third annual ChoreoLab, an evening of dance for and by the dancers.

The stylistically diverse program, featuring 13 works by 10+ choreographers, performed by 31 dancers, will take place this Friday, June 5, at Near West Theatre in the Gordon Square Arts District.

ChoreoLab stands apart from Cleveland Ballet’s mainstage productions in that it is planned and organized by a committee of the company dancers. Heading the committee is seven-year company member Erinn Crittenden, who will be retiring from the company following Friday night’s productions. (Read about Erinn’s career and what’s next here). She describes the choreographers’ casting process as a bit like choosing teams for a playground ball game, with each dancemaker taking turns choosing dancers for their work.

“We try to accommodate everyone,” says Crittenden. “This time we have dancers who are performing in up to four works on the program.”

With the dancers off contract in the lead-up to the production, Crittenden says it’s ChoreoLab’s energy and the dancers’ voice in its creation that draw them to participate.

“As dancers, we are always told what to do,” says Crittenden. “Being at the head of the room and directing our coworkers is a valuable leadership learning experience.”

For fans of Cleveland Ballet, ChoreoLab is an opportunity to see its dancers in a different light. Many of the works on the program feature contemporary movement styles rather than the classical ballet movement found in its story ballet offerings.

“It’s a fresh way of seeing the company’s dancers and their creativity,” says Crittenden.

Friday night’s ChoreoLab will kick off with Madison Campbell’s “Libertas Divina,” a work for a trio of women set to music by composer Florence Price. The work embodies the energetic femininity of the modern American woman. It will be followed by the first of two ballets by Bruno Palheta, “EntreLinhas.” The piece for eight of Cleveland Ballet’s trainee dancers is set to music by Daniel Blumberg and plays with ballet’s movement language of lines and positions.

Next, Akron native and company apprentice Heidi Hollopeter’s “Emerald Canopy” seeks to capture nature’s vibrancy and whimsy as five women dance to music by English indie rock band Glass Animals. Then, “Synapse” by Elizabeth “Lizzie” Rasmussen with contributions from company trainee Rileigh Phillips gives the audience a glimpse into what the choreographic process might feel like. The experimental work for four women is set to music by Bauhaus, Black Midi, and Nine Inch Nails, led by former Clevelander Trent Reznor.

From 2025’s ChoreoLab. Photos courtesy of Cleveland Ballet.

American vocal R&B quartet Shai’s acapella tune “If I Ever Fall In Love” then provides the soundtrack to Tiera Peters’ “Fall.” The piece for a quartet of dancers features smooth, flowing movement centered on the themes of calm, love, and appreciation.

The program continues with Cleveland Ballet trainees’ group choreographic effort, “The Weight We Carry.” Danced to the song “Eulogy” by Kyle Dixon & Michael Stein (composers for the TV series Stranger Things), the contemporary dance work brings together different creative voices toward a unified vision that the trainees say is open to interpretation by the audience.

The weight of emotion then gives way to air’s dual nature as both a presence and a threat in Alexander Guzmán’s “Geometry of Air.” Set to music by Richard Blackford, a cast of eleven invites the audience to consider how something intangible can hold immense power over the environment, the body, and the space between us.

Next, Crittenden shows her choreographic chops with “Take Me Home,” a work that pays homage to country folk dancing and line dancing. Set to Oscar and Grammy-winning singer-songwriter Ryan Bingham’s “Southside of Heaven,” the 7 1/2-minute work for eight dancers is about a woman Crittenden calls “the lone ranger” who disrupts the mundane movement pattern a group of dancers is stuck in. “It’s about her being a catalyst for change and finding a place where she belongs,” says Crittenden.

From 2025’s ChoreoLab. Photos courtesy of Cleveland Ballet.

Palheta’s second ballet on the program, “Cortejo,” taps into his Brazilian roots and is conceived as a tribute to the energies of nature. Danced to music by the celebrated Brazilian instrumental band SaGrama, its cast of five “will move through a collective journey of transformation, where gesture becomes celebration, memory, and a connection to the sacred.”

Then, the paradoxical communication dilemma, a “Double Bind,” provides inspiration for fifth-season company member Alia Federico’s “Razorblade Cupcake.” In it, a trio of dancers delves into the dilemma of receiving two or more conflicting messages, creating a “no-win” situation.

Rounding out 2026’s ChoreoLab will be Levian Mondville’s “PEACE,” about how we leave an impression on everyone we meet; former Ballets Jazz Montréal and GroundWorks DanceTheater dancer Gemma Bender’s “Rooted,” the lone work on the program from an outside choreographer; and Katharine Cowan’s “FRAGILE: Handle with Care,” a ballet for ten dancers set to music by various artists including The Coconut Islanders and American film score composer Theodore Shapiro (The Devil Wears Prada, Tropic Thunder).

Cleveland Ballet presents ChoreoLab, 7 p.m., Friday, June 5, 2026. Near West Theatre, 6702 Detroit Ave., Cleveland. Tickets are $15, with all proceeds directly benefiting Cleveland Ballet dancers. For tickets, visit cleveballet.org/choreolab, email tickets@cleveballet.org, or call 216.320.9000 ext. 107.

Following the performance, audience members are invited to stay for a special Behind the Curtain Q&A session with the choreographers. Ticket holders are also encouraged to continue the evening with a meet-and-greet reception with the artists at the adjacent Ninja City.

Interview: Amber Ardolino of A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL at The Stranahan Theater

Mon, 01 Jun 2026 22:21:34 PST

Broadway in Toledo will bring the national tour of A Beautiful Noise: The Neil Diamond Musical to the Stranahan Theater June 16–21. Created in collaboration with Neil Diamond, the musical traces his journey from a kid growing up in Brooklyn to one of America's most beloved music icons. Filled with hit songs and heartfelt storytelling, A Beautiful Noise is an energetic and inspiring theatrical memoir.

Playing Marcia Murphey on tour is Amber Ardolino. After appearing on Broadway in such hits as Hamilton, Moulin Rouge! The Musical, and Back to the Future: The Musical, Ardolino is reprising the role she previously played in the Broadway production of A Beautiful Noise. I had the opportunity to chat with her about the show.

Amber Ardolino and Nick Frandiani in A Beautiful Noise

You have an extensive Broadway résumé, and you were in A Beautiful Noise on Broadway. You played Marcia there as well, correct?

Amber Ardolino: Yes, I did. I first joined the show on Broadway in 2023, I believe. I got to do the show with Nick Fradiani and was with it for about six months. I also had the opportunity to close out the Broadway run, so it feels very kismet that I'm now back on tour and closing out the show one more time. It's really amazing.

You've played Marcia for quite a while now. Has your portrayal evolved over time?

Ardolino:  Absolutely. Playing her on Broadway and then returning to the role two years later has been a unique experience. When you take on a role, you don't really settle into it until two or three months in. By the time I felt fully settled into Marcia on Broadway, the run was ending.

I'm happy to revisit the role and bring many of the same qualities I brought before, but with a fresh perspective. Over the past two years, I've thought about things I'd like to explore and ways I'd like to deepen the character. Now that I'm settling into her again, I feel like I'm giving the best version of Marcia I've ever given.

From what I've read, the real Marcia had a great sense of humor but was also very no-nonsense. She played a significant role in Neil Diamond's career.

Ardolino:  Absolutely.

Do you have someone in your own life who has played that kind of supportive role?

Ardolino:  Of course, my mom. I see so much of her in Marcia. My mother, Jody, has come out to see me perform the role a few times, and I've definitely drawn inspiration from her.
Growing up, she guided me through my career and made so many opportunities possible. She's the best mom ever. In many ways, Marcia did that for Neil. Whatever he needed, she was always there. She played a pivotal role in his success and was a major reason he achieved so much. It's often the woman behind the man, you know?
Absolutely. And you get to perform "Forever in Blue Jeans," which is such a great number.

Ardolino:  Yes! I've been lucky enough to sing some incredible songs throughout my career, but I don't think anything tops "Forever in Blue Jeans." It's a number where I truly get to do everything. Sing, dance, and act. It's the epitome of a triple-threat performance, and I get excited every night when it's time to perform it.

It's a wonderful song. Its message about simple comforts and love really resonates. As you're traveling across the country, are there simple joys that help keep you grounded on tour?

Ardolino:  Definitely. I'm from the country. I grew up in a small town in Pennsylvania, and I really connect with that side of Marcia. There's something beautiful about simplicity and realizing you don't need a lot to be happy.

I've experienced both worlds. I grew up in the middle of nowhere and then found myself in New York City, on Broadway, surrounded by all the excitement and hustle. That's a dynamic Marcia experiences, too, in her relationship with Neil. In a lot of ways, it feels like a perfect fit.

Amber Ardolino and Nick Frandiani in A Beautiful Noise

As you prepare to visit Toledo, do you know much about the city?
Ardolino:  I actually spent a lot of time in Ohio growing up because I was a competitive dancer. I'm excited to visit Toledo. I attended a performing arts high school, and I have a lot of people from my hometown traveling to Toledo to see the show. I'm very excited to be coming there.

What can audiences expect from A Beautiful Noise? We know it's about Neil Diamond, and it has a concert atmosphere, but it also tells the story of the man behind the music. Without giving too much away, what are Toledo audiences in for?

Ardolino:  They're getting a rock concert, first and foremost. Every night, people are waving their hands, singing along, and dancing in their seats. It's truly a spectacle.

At the same time, audiences get a fascinating story. Neil Diamond lived an extraordinary life, and the show explores that journey in a really compelling way. That's one of the things that drew me in when I first saw it.

I think it's a show for all ages. While we certainly attract longtime Neil Diamond fans, anyone who loves live music and great storytelling is going to have a wonderful time.
Any final words for Toledo audiences?

Ardolino:  Oh my gosh, I can't wait to get to Toledo. We're so excited to bring this show to you. I hope audiences have as much fun watching it as we have performing it.

A Beautiful Noise: The Neil Diamond Musical

June 16–21, 2026 

Stranahan Theater 

Presented by The American Theatre Guild

Steubenville’s Dean Martin Festival To Welcome Vegas Favorites, Screen Stars, and More

Mon, 01 Jun 2026 07:03:00 PST

From June 18-20, 2026, Steubenville, OH will hold it's annual Dean Martin Hometown Festival for a 30-year anniversary. "The King of Cool" was born Dino Crocetti in Steubenville, and went onto become Dean Martin - one of the most everlasting voices in popular music and forever memorable stars on the small and silver screen.

Highlight shows and musical performances during the weekend include a variety of events at the Spot Bar, like Las Vegas headliners Joe Scalissi and Tom Stevens paying tribute to Dino on Friday and Saturday evenings, respectively. Energetic, on-the-rise band The Cugines and local Frank Sinatra tribute artist Dave Salera will entertain at Spot Bar on Saturday for an all-ages afternoon. One of the festival's can't-miss events is there on Thursday night - the annual karaoke contest with DJ Paulie Walnutz.

In the new 1917 Supper Club series, Michigan-based vocalist Jeff Grainger and in-demand touring entertainer Lee Dean (also appearing during the Thursday night Fort Steuben outdoor concert as part of the "Rat Pack Tribute Show") will sing and stroll while patrons dine at local Ohio Valley restaurants on Friday during dinner hours. Michelle DellaFave from "The Dean Martin Show" on NBC will do the same during Saturday night's supper club event.

Theatre lovers can head just across the river in Weirton to see Joe Scalissi entertain with a dinner theatre matinee at Undo's on Saturday June 20. Patrons of this show will also be treated to a display of a collection of items used by Martin and his "pallies". An interactive Rat Pack-theme dinner and murder mystery show will be presented by George Snider's Murder & Merriment on Wednesday as a pre-festival event at Scaffidi's in Steubenville.

Acclaimed film actor Lou Martini, Jr. will serve as emcee for many events throughout the weekend, marking his incredible 20th appearance at the annual affair. Home shopping network and TikTok host Hannah Timm will livestream from many of the events on the festival's official social media pages. "Everybody Loves Raymond"-credited multi-hyphenate Dave Shelton will be interacting with his fans at various times while in Steubenville. Film historian and preservationist Bob Furmanek will share stories about his recent project, restoring the Martin & Lewis film "Money from Home", when he appears virtually during a Friday morning talkback at the main branch of the Public Library of Steubenville and Jefferson County.

A variety of other activities are also planned across each day, offering festival goers a fun-filled weekend of events.

Interview: Book & Lyricist Anthony Drewe Talks FREAK THE MIGHTY at Cleveland Play House

Mon, 01 Jun 2026 10:58:45 PST

The Cleveland Play House is launching the world premiere of the new musical Freak the Mighty. Adapted from Rodman Philbrick’s novel, the story follows the adventures of two young outsiders who form an unlikely friendship. The book and lyrics for the show are by the renowned Anthony Drewe. The multi-award-winning writer of such international hits as Mary Poppins and Honk! is collaborating with Baldwin Wallace University alum Ryan Fielding Garrett to bring this tale of camaraderie to the stage. I had a chance to speak with Mr. Drewe about the show.

Netza Jimenez as Maxwell Kane and Cornelius Kittrell as Kevin Avery/Freak in FREAK THE MIGHTY

What prompted you to adapt Freak the Mighty into a musical?
Anthony Drewe: Well, in the 1990s, a friend of mine with whom I’d collaborated on a couple of musicals sent me the video of the film adaptation, The Mighty. He said he thought it was a natural musical. I watched the film and really enjoyed it. I loved the elements of the story, but I was busy on another project at the time, so I tucked it away. I thought, “I’m not going to forget this. I’ll come back to it at some point.”
I was really moved by the film. I subsequently bought the novel Rodman Philbrick wrote, which became the basis for the adaptation.

Is this adaptation different from any of your previous work?
Anthony Drewe: The biggest difference is that I’m writing with a different composer, someone I hadn’t worked with before. Ryan was already a friend of mine. I knew him as a musical director because he played in the pit for Mary Poppins on Broadway.
I first encountered him as the musical director of The Three Little Pigs, a show I’d written for children that was part of a festival in New York. That’s when we became friends.
After the pandemic, I was looking for a new project. My long-term writing partner, with whom I’d written for nearly 40 years, suffered a stroke in 2019. Although he made a recovery, he was unable to play the piano afterward. I was beginning to go stir-crazy without a project, so I rang Ryan in New York and asked if he’d fancy writing a musical with me.
The biggest challenge was that he was in New York while I was either in the UK or France, where I have a house. Much of this show was written through Zoom and FaceTime meetings. I think we were only actually together during a three-week stay when he came to France and another visit when he came to my house in Kent.
It’s an unusual way to write a musical because you want to be in the same room, breathing the same air, but it seems to work.

Working with Ryan Fielding Garrett, were there particular elements you wanted to focus on while writing it?
Anthony Drewe: I think that part is the same as with any musical I’ve written. You find a story that you love, and you ask yourself, “Does this story sing?” Will adding songs contribute something to the storytelling?
Ryan and I were very much on the same page about that. We pretty much agreed on every song moment. Then, after we completed a first draft, I realized we’d missed a moment, so we wrote another song for one of our lead characters.
Ryan has been a musical director on many productions, and I’ve written a lot of musicals. We both had a natural affinity for the story and a similar instinct for where the songs should fall.

Freak the Mighty tells the story of two outsiders who develop a friendship and become a heroic duo. How do you ensure they remain genuine and avoid cliché?

Anthony Drewe: It certainly could become cliché if you’re not careful. I found these characters fascinating because it’s unusual to have a musical with two protagonists. The moment they become friends, you’re rooting for them as a double act, and that really interested me.

The fact that the boys face different challenges.-One has a form of dwarfism and the other has PTSD—was also compelling. What helped us avoid cliché was having a brilliant Access Consultant team involved from the beginning, ever since we started workshopping the show three years ago.
We have Sofiya Cheyenne as a dwarfism consultant who is an advocate for little people. Talleri McRae served as a consultant on the PTSD elements and helped ensure we handled those aspects of the story authentically.
A great deal of the groundwork was already in Rodman Philbrick’s novel. The characters never feel like clichés on the page. In fact, he knew two boys who inspired the story. Living in New Hampshire, he once looked out his window and saw a very large boy for his age and a boy with dwarfism. He watched the larger boy lift the smaller one up, and they became a unit.
Between Philbrick’s wonderful novel, our access team, the director, and the many workshops we’ve done since obtaining the rights, we’ve continually refined the piece.

How has the experience of working with Cleveland Play House been?
Anthony Drewe: For me, as a Brit coming over and working in Cleveland, it’s been amazing. The theatre has unbelievably good facilities. Playhouse Square is extraordinary. I couldn’t believe how many theatres there are gathered together in one district.
Within Cleveland Play House, the costume department, props department, and scenery shops are all fantastic. Every time we asked for a new prop, it would appear in the rehearsal room the next day, beautifully made.
Having that ability to make changes quickly and collaborate directly with the various departments has been a real thrill. It’s genuinely felt like a team effort, with everybody pulling together.

The cast of FREAK THE MIGHTY

Do you have any advice for young writers?
Anthony Drewe: You have to fall in love with the material because you should assume it’s going to be a long-term relationship. This has actually been a relatively quick project at about four years, but you still need to love it after four years as much as you did when the idea first arrived.
Don’t simply look at the next Charles Dickens novel or the latest film and think, “Ooh, that’ll make a musical.” It doesn’t always work that way. You have to ask whether the material sings.
Sometimes I’m asked to write a musical, and after reading the script or play, I think, “This doesn’t need songs.” You have to ask what adding music will contribute to the storytelling.
Have you seen any recent shows that have become favorites?
Anthony Drewe: On Broadway, I love Two Strangers (Carry a Cake Across New York). I’m especially fond of it because I actually mentored it. The writers came to stay at my place in France for a week, and they wrote part of the show there.
I’m very proud to have watched it grow from Ipswich to Northampton, then London, Boston, and now Broadway. It’s amazing.
I also really liked Dead Outlaw, which I saw on Broadway. I invested in Six. I love Shucked and its sense of comedy. I haven’t seen it on stage yet, but I watched Schmigadoon! on television and absolutely loved it.

Are there any projects you can tell us about?
Anthony Drewe: This year in the UK there’s a revival of Just So. There’s also going to be a new production of Honk! for Christmas, along with a new production of our version of Peter Pan.
Ryan and I have another musical aimed at younger audiences that’s scheduled to open at the Children’s Theatre in Minneapolis, which I’m very excited about. We workshopped it there in September, and the theatre told us they wanted to move forward, so we’re currently waiting on dates.
I enjoyed my time in Minneapolis every bit as much as I’ve enjoyed my time here in Cleveland, so I’m very hopeful that project moves ahead. It’s called The Good Hair Day.

The Good Hair Day. We'll definitely have to keep an eye out for that. It sounds like you have a lot of exciting things happening.
Anthony Drewe: Suddenly, after COVID, it feels like we’re having a little renaissance!

Thank you so much for your time!

Anthony Drewe: My pleasure!

Cleveland Play House

Freak the Mighty 

Cleveland Play House

Book & Lyrics by Anthony Drewe 

Music by Ryan Fielding Garrett 

Based on the Novel by Rodman Philbrick 

Directed by Michael Barakiva

A Co-Production with Seattle Rep
May 22–June 21, 2026 Allen Theatre

Tickets On Sale This Week For THE WHO'S TOMMY At Playhouse Square

Thu, 28 May 2026 15:57:14 PST

Tickets for The Who's TOMMY will go on sale Friday, May 29 at 10 a.m. for its engagement at Playhouse Square in Cleveland from October 6 - 11, 2026.

In 1969, The Who created a rock opera that changed the course of music history. Now, it returns in a dazzling all-new production that feels more relevant than ever.

Myth and spectacle combine in this fresh reinvention featuring the unforgettable anthems “I'm Free,” “See Me, Feel Me,” “Sensation,” and “Pinball Wizard.” After witnessing his father shoot his rival, young Tommy Walker is lost in his own universe, endlessly staring into the mirror. His extraordinary talent for pinball propels him from reticent adolescent to celebrity savior.

This electrifying production brings a bold new take on one of the most iconic works in rock history — a story of awakening and the search for connection in a fractured world.

Three decades after the groundbreaking musical first premiered on Broadway, original creators Pete Townshend and Des McAnuff reunite to bring the story of Tommy Walker to today's audiences.

The creative team includes choreographer Lorin Latarro, music supervisor and arranger Ron Melrose, scenic designer David Korins, projection designer Peter Nigrini, Costume Designer Sarafina Bush, lighting designer Amanda Zieve, and sound designer Gareth Owen.

Nominated for the Tony Award for Best Musical Revival, the 2023 production also won 9 Joseph Jefferson “Jeff” Awards, including Best Production and Best Director.

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 WIZ at Stranahan Theatre

Wed, 27 May 2026 17:58:58 PST

Dorthy Gale arrives at Stranahan Theater by tornado (and tour bus!) as Broadway in Toledo brings the National Tour of The Wiz to town this week. I had a delightful night easing on down the road with familiar characters reimagined in a creative and moving way. The production is top-quality, featuring powerful performances, memorable music and dazzling effects. It is highly recommended to catch this vibrant revival that’s been 50 years in the making.

The Wiz is a reimagining of The Wonderful Wizard of Oz through the lens of the Black American experience. Originally opening in 1975, the show won seven Tony Awards. Featuring a book by William F. Brown and a Tony Award-winning score by Charlie Smalls, it serves as a vibrant celebration of Black culture, music, and imagination. Amber Ruffin adds additional material that updates the show for modern audiences. To me, the production feels like a blueprint for contemporary musicals such as Hamilton, where placing yourself within the narrative is essential. Retelling Dorothy’s journey to Oz in a unique cultural voice makes the story both compelling and illuminating. This interpretation emphasizes the importance of community, self-belief, and the enduring reminder that there truly is no place like home. The infectious score blends such genres as gospel, funk, and rhythm and blues into an empowering musical experience from beginning to end.

The cast is a collective force of talent whose energy never wanes. They consistently embody the joy and heart of the material. Phoenix Asiata LaFreniere leads as Dorothy with strength and spark. Her portrayal is youthful, hopeful, and heartfelt, while her vocals are both polished and endearing. Her traveling companions frame her beautifully: D. Jerome as the Tin man, Cal Mitchell as the Lion, and Elijah Ahmad Lewis as the Scarecrow each shine in their individual moments while blending seamlessly together. My personal favorite was “Be a Lion,” which brought down the house at the end of Act One with its heartfelt sentiments about bravery.
Kyla Jade is also a standout as Aunt Em and Evillene, bringing warmth to “The Feeling We Once Had” and commanding power in “Don’t Nobody Bring Me No Bad News.” Scheherazade captures both the wisdom and heart of Glinda. I’m not sure what sparkled more; her dress or her performance. When she sang “Believe in Yourself,” you could feel the audience embracing the song’s powerful message.

From beginning to end, the production radiates joy. The audience was cheering from the opening moments, and by curtain call, everyone was on their feet. Toledo audiences have been waiting for a show this fun, filled with messages of hope, love, and resilience. Let’s just hope we won’t have to wait another 50 years for another production. Ease on down the road to Stranahan Theatre to be entertained and enlightened. Y’all got it?

The Wiz
Broadway in Toledo
Stranahan Theatre

Performance Schedule
Tuesday May 26, 2026   7:30 p.m.
Wednesday May 27, 2026   7:30 p.m.
Thursday, May 28, 2026   7:30 p.m.
Friday May 29, 2026       7:30 p.m.
Saturday May 30, 2026   2:00 & 7:30 p.m.
Sunday May 31, 2026       1:00 & 6:30 p.m.

National Center for Choreography-Akron to Host Free Nonprofit Reimagining Event

Tue, 26 May 2026 12:44:34 PST

As part of its 10th anniversary programming and capstone Creative Administration Research (CAR) Summit Convening, the National Center for Choreography-Akron (NCCAkron) presents a free event with national artists and thought leaders commenting on and reimagining the nonprofit model. Reimagining the Nonprofit will take place at the historic Goodyear Theater on Sunday, June 21, 3:30-5pm, with perspectives from across dance, music, software technology, philanthropy, law, and public service.

Stemming from NCCAkron's CAR approach where artists and leaders are encouraged to ask different questions instead of seeking the same answers, the community is invited to experience and hear from speakers including: Bonnie Brooks (Falls Church, VA), Alejandra Duque Cifuentes (Lacey, WA), Adam Fong (San Francisco, CA), Hope Mohr (San Francisco, CA), Matthew Radick of Monkeypod (Seattle, WA), DeMarcus Akeem Suggs (Memphis, TN) and Kate Wallich (Los Angeles, CA). Bios are below.

This open-to-the-public event is part of NCCAkron's 2026 Creative Administration Research (CAR) Summit Convening; the event will be documented and later shared publicly through NCCMedia.

Reimagining the Nonprofit will take place on Sunday, June 21, 3:30-5pm at Goodyear Theater. FREE with RSVP: https://www.nccakron.org/event-details/reimagining-the-nonprofit

The result of $1.75 million of support from the Mellon Foundation over six years, the CAR program challenges artists and arts leaders to think beyond "best practices." Based on the premise that there isn't just one way of making art so there shouldn't be only one way of doing the business of art, the program launched in 2020 and has cultivated a think tank of 26 artist teams across 19 states. The book Artists on Creative Administration: A Workbook from the National Center for Choreography also emerged from the CAR program, edited by Tonya Lockyer and published by the University of Akron Press (2024). For the 2026 Summit, NCCAkron brings together 80+ CAR alumni, choreographers, arts administrators, and thought leaders to gather, to celebrate, to physicalize their administrative thinking and dreaming, and to create new shared reference experiences to inform future work.

Interview: Irina Zaurov Directs FIDDLER ON THE ROOF At Toledo Repertoire Theatre

Tue, 19 May 2026 21:17:03 PST

The Toledo Repertoire Theatre will present the classic musical FIDDLER ON THE ROOF this June on its Tenth Street stage. Rich in historical and ethical detail, this Tony Award-winning musical tells the story of milkman Tevye and his five daughters as they navigate changing social norms while trying to hold onto their traditional values. Written by Joseph Stein, with music by Jerry Bock and Sheldon Harnick, this heartfelt musical remains deeply relevant regardless of background or generation.

Director Irina Zaurov brings both professional experience and personal connection to the production. A classically trained actor and director, Zaurov has directed for numerous theaters throughout the Greater Toledo area. She currently serves on the Toledo Rep’s Board of Directors and is the artistic director and co-founder of Sylvania Arts Youth Theatre, where she has worked for 21 years. She also teaches “Creative Process,” “Acting for Non-Majors,” and “Intro to Theatre” at the University of Toledo.

I recently had the opportunity to sit down with Zaurov to discuss her personal and professional connections to the show.

Director Irina Zaurov

Tell me a little bit about yourself, your background, and what brought you to direct Fiddler.
I’ve been living in Toledo for more than 30 years now. Most of our relatives ended up in New York, but we moved here because we have a child with special needs. At the time, the children’s hospital here was considered one of the best in the country, so we came for help for our son.

My family immigrated from the former Soviet Union looking for a better life. Some people immigrated because of religious persecution, but for us, it was mostly about helping our child. We now have relatives all over the world — Germany, Australia, Austria — places I never imagined. Sometimes it’s still strange to realize we speak English together instead of Russian.

I had a very interesting religious experience as a child. I was maybe nine or 10 years old when all of my cousins gathered in my grandmother’s basement to learn about Hanukkah. One of the neighbors must have called the police, because officers came in and arrested the adults, leaving all of us children standing there terrified. After that, we never talked about it again. We never celebrated openly, though I always remember my grandmother quietly lighting a candle.

When we arrived here, everything felt so free. People openly celebrated all kinds of holidays, including Jewish holidays. It took me a while to adapt. It was a huge change.

Theater-wise, you have extensive training, don’t you?

I’m a classically trained actor and director. I earned a master’s degree in performing arts in Moscow, and I also trained here at the University of Toledo. The approaches are very different. My Russian training was much more conservatory-style.

At some point, I decided I wasn’t getting any younger, and I didn’t really see myself continuing as an actor. My accent was always somewhat of a barrier. But I’ve worked in theater here for 15 years now, and Fiddler will be my 80th show.

“We have a multi-generational, multicultural cast, and it’s amazing that 75 people came to audition. We ended up with a cast of 40. They are absolutely incredible — a dream cast and production team. This is our third show working together, and for a director, having a dedicated production team and actors willing to put in the time is a real blessing.

The cast of FIDDLER ON THE ROOF in rehearsal
Photo credit: Todd Grinonneau

A major theme in Fiddler is tradition. Are there any traditions you keep in your own life?

I have a tradition with my husband every Friday night. We light candles and rest through Saturday. We eat, take walks, and spend time together, especially if the weather is nice. He prays a lot, and it’s wonderful to have a peaceful day where you can just slow down.

“In theater, I also have a tradition before performances. Everyone stacks their hands together, and we count to three or say ‘break a leg’ or the name of the show. It’s something small to help boost everyone’s spirits. I always remind them how hard they’ve worked and encourage them to enjoy the experience.”

Fiddler has been around for a long time. Will this production be a more traditional retelling?
Yes. I like keeping it traditional. I spend a lot of time teaching the cast about Jewish culture and traditions — how they work and how they differ.

“We also have a Jewish gentleman in the cast playing the Rabbi. His daughter recently had a bat mitzvah, and he invited members of the cast to attend so they could experience the celebration firsthand. They loved the dancing, the food, and the atmosphere. It was a wonderful experience for everyone.

My approach as a director focuses heavily on character development. It’s important that actors understand who their characters are, what they want, and how they connect to each other. Once they understand that, the singing and dancing become much easier.“This production is very movement and music heavy. Thankfully, I have Gail Mowry as music director and Alex Fisher as choreographer. We all work very hard together, and they are at every rehearsal.

The Toledo Rep presents FIDDLER ON THE ROOF
Photo credit: Todd Grinonneau

Why do you think the show is still so relevant today?

“It’s still relevant because it touches on important topics like tradition, assimilation, and the search for a better life. So many people are still looking for that.

Tevye is such a wonderful father, and it’s fascinating to watch how he adapts throughout the show. One of the most beautiful moments comes at the end, when his daughter returns to say goodbye before leaving. He quietly says, ‘God bless you,’ not directly to her face, but almost to the side — like he’s leaving a little window open for forgiveness someday. It’s his way of saying, ‘I still love you.’

There are many touching moments in the show, but also a lot of humor.

Act One has much more humor, while Act Two becomes more serious. Watching Fiddler, I want audiences to laugh, cry, and appreciate the beauty of family even during difficult times.

Toledo audiences understand that we’re all individuals, but together we create a larger human community. With so much hatred in the world right now, I want people to see that we are all more alike than different.

It was fascinating to see so many people audition for a production about Jewish life, especially considering everything happening in the world today. I feel very blessed to be directing this show.

The cast of FIDDLER ON THE ROOF in rehearsal
Photo credit: Todd Grinonneau

Fiddler on the Roof

June 5–21, 2026 Toledo Repertoire Theatre

16 Tenth Street Toledo, Ohio 43604

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!

Interview: Phoenix LaFreniere Brings The National Tour of THE WIZ to Toledo

Sun, 17 May 2026 20:46:37 PST

In its fourth engagement of the 2025–26 season, Broadway in Toledo brings the all-new North American tour of THE WIZ to Stranahan Theater. More than 40 years after its Broadway debut, the Tony Award-winning reimagining of The Wizard of Oz continues to delight audiences with its iconic score blending soul, gospel, funk, and R&B.
I recently spoke with Phoenix LaFreniere, who is making her national tour debut as Dorothy, performing beloved songs including “Ease on Down the Road” and “Home” for audiences across the country. We discussed the show, stepping into such an iconic role, and what Toledo audiences can expect from this fresh revival.

Is it a dream come true playing Dorothy in the national tour of THE WIZ?

Yes, it really is. I came into the role in kind of a roundabout way. I was originally cast in the ensemble and as an understudy for Dorothy. I joined the tour back in January, so I’ve only been here a couple of months, but about a week into rehearsals they recast me as Dorothy. It’s been really crazy.

This is your first national tour. What has surprised you most about the process?

I think how challenging it is. I knew it was going to be hard, but I didn’t really understand just how hard until I was actually doing it. But I’m having a lot of fun. It’s definitely a challenge.

I had the chance to catch the tour early in its run, and there was such excitement and joy from the audience right from the start. Are you finding that same response in different cities?

Definitely. It depends on the audience, but pretty much every city has that excitement. There’s cheering when the overture starts and when the curtain comes up. Everybody is having a great time — laughing and cheering throughout the whole show.

Many audiences know THE WIZ through the original Broadway cast recording, the film adaptation, or the live television production. What can Toledo audiences expect from this version?

Well, this year is the 50th anniversary of the original show, so the creative team did something really awesome. We have songs from both the Broadway show and the movie, plus a completely new script with new dialogue and everything.
The fun thing about this production is that whether you know the original musical or the movie, there’s going to be something familiar for you. That hasn’t been done before, so it’s really exciting. You can expect to be dancing in your seat and just having a great time. It’s a really fun show.

You are following a long line of legendary performers who have played Dorothy. What makes your portrayal unique?

My Dorothy has a lot of myself in it because I already feel very similar to Dorothy. The lines feel natural coming out of me, so instead of trying to become somebody else, I bring more of myself into the role.
Of course, I’m inspired by Stephanie Mills, Diana Ross, and all the Dorothys who came before me, but I let those influences wash over me instead of trying to recreate them. I grew up with THE WIZ, too. I wasn’t around when it first came out, but I grew up watching the movie. My version of Dorothy comes from all of that.

One of the show’s most beloved songs is “Home,” which is all about love, belonging, and the feeling of home. While you’re touring, what gives you that feeling?

I think one of the main themes of the show is that home becomes less about a physical place and more about where you feel most like yourself — where you feel loved and accepted.
Even though that can be a specific location, it can also be the people around you or the feeling you have day to day. That’s definitely what I take with me on tour. I feel really comfortable with the people around me, I’m doing something I love, and I’m having fun every night. I don’t need to be in one specific place to feel at home.

Is there anything you’d like to say to Toledo audiences before arriving in town?

Just get ready to dance and have fun!

THE WIZ
Broadway in Toledo
Stranahan Theater
Performance Schedule
•   Tuesday, May 26, 2026 — 7:30 p.m.
•   Wednesday, May 27, 2026 — 7:30 p.m.
•   Thursday, May 28, 2026 — 7:30 p.m.
•   Friday, May 29, 2026 — 7:30 p.m.
•   Saturday, May 30, 2026 — 2:00 p.m. & 7:30 p.m.
•   Sunday, May 31, 2026 — 1:00 p.m. & 6:30 p.m.
Ticket Information
Tickets are available through:
•   Broadway in Toledo
•   The Stranahan Theater
•   Etix
Tickets purchased through unauthorized sources are not guaranteed.
Follow on Social Media
•   Facebook: @BroadwayInToledo
•   Instagram: @BwayToledo

THE LOST BOYS Will Launch a North American Tour in 2028

Fri, 15 May 2026 09:30:20 PST

BoradwayWorld has just learned that THE LOST BOYS will launch a North American National Tour in Spring 2028, at Playhouse Square in Cleveland. Additional cities and tour dates will be announced at a later date.

“We’re thrilled to announce that The Lost Boys will launch its North American tour in Cleveland, delivering the acclaimed artistry, breathtaking flying sequences, and heartfelt story of family that have captivated audiences at The Palace Theatre to cities across the country,” said producers James Carpinello, Marcus Chait, and Patrick Wilson.

“THE LOST BOYS is already generating buzz on Broadway having just garnered 12 Tony nominations. Here in Cleveland, we are ready do the same when we partner with the producers to launch the national tour at Playhouse Square in the Spring of 2028,” said Craig Hassall, Playhouse Square President and CEO. “We look forward to welcoming the creative team, cast, and crew to town and we know our more than 39,000 season ticket holders will be thrilled to be the first audiences in the country to see what promises to be an incredible touring production!”

THE LOST BOYS is nominated for 12 Tony Awards including Best Musical, 5 Drama Desk Awards, 4 Drama League Awards including Best Musical, and 10 Dorian Theater Awards including Outstanding Broadway Musical, and won 2 Broadway.com Audience Choice Awards for Favorite New Musical and Favorite Featured Actress in a Musical (Shoshana Bean), a Theatre World Award for LJ Benet, and 2 Outer Critics Circle Awards for Outstanding Scenic Design of a Play or Musical (Dane Laffrey) and Outstanding Lighting Design of a Play or Musical (Michael Arden and Jen Schriever).

Check out what the cristics had to say.

Perfect weather. Beautiful beaches. And a charming boardwalk…as long as you ignore all the “Missing” posters.

When Lucy and her two teenage sons move to town in desperate need of a fresh start, they soon uncover the darker side of this sunny coastal community. While Lucy tries to piece her family’s life back together, Michael keeps pulling away in search of belonging. As he finds connection with a local rock band and its charismatic leader, his younger brother Sam comes face-to-face with a startling reality: When night falls, Michael’s new friends are even more dangerous than they first appeared.

Great Lakes Theater, Idaho Shakespeare Festival, and Lake Tahoe Shakespeare Festival Partner With Play On Shakespeare

Thu, 14 May 2026 21:11:12 PST

Great Lakes Theater (GLT), Idaho Shakespeare Festival (ISF) and Lake Tahoe Shakespeare Festival (LTSF) have announced a major new partnership with Play On Shakespeare, the nonprofit commissioning contemporary modern verse translations of the complete works of William Shakespeare.

This collaboration marks the launch of a five-year artistic and educational initiative designed to expand access to Shakespeare through bold new translations, innovative productions, and far-reaching community engagement across multiple regions of the United States.

The partnership will launch in 2026 with a new modern verse translation of The Winter's Tale, written and directed by acclaimed playwright Tracy Young. The production will open at Idaho Shakespeare Festival in Boise in August 2026 before traveling to Great Lakes Theater in Cleveland, where it will help inaugurate the company's 65th Anniversary Season that fall.

“Our partnership with Play On Shakespeare expands the artistry at the core of our work,” shares Sara Bruner, Producing Artistic Director for GLT, ISF and LTSF. “Shakespeare remains central to who we are, and these translations offer a powerful, immediate way for audiences to connect to these works. We are committed to producing the Bard's work alongside bold translations and Shakespeare-adjacent pieces that keep the canon in active conversation with the present. This isn't about replacing the classics, but expanding access to them and creating more pathways for audiences to experience the depth and humanity of these stories. This is text-based theater at its most vital—language that moves, connects and reflects our shared humanity in real time.”

Play On Shakespeare has commissioned playwrights from across the country to create contemporary translations of Shakespeare's plays that preserve the poetry and dramatic structure of the originals while offering language that resonates with modern audiences.

Over the next five years, GLT, ISF and LTSF will collaborate with Play On to bring these translations to life through an ambitious slate of work, including four full productions across five seasons, a newly commissioned world premiere translation of Hamlet and touring/multi-venue performances shared among all three organizations. At least one production will travel to all three partner theatres, creating a uniquely connected Shakespeare experience across the country.

“The partnership between Play On Shakespeare and Idaho Shakespeare Festival, Great Lakes Theater and Lake Tahoe Shakespeare Festival grew through years of careful, rigorous collaboration — production-based partnerships that spotlighted individual Shakespeare translations,” explains Sally Cade Holmes, Play On Shakespeare's Head of Partnerships. “This next chapter expands that foundation. We remain committed to production-based work, but we're equally excited to deepen our investment in Shakespeare access and theatrical innovation through multi-year collaborations with values-aligned institutions. Under Sara Bruner's leadership, all three organizations share our dedication to exploring the ever-expanding ecosystem of Shakespeare translation, inviting playwrights into rehearsal rooms and shaping the future of theatrical practice.”

Beyond the stage, the partnership includes a robust slate of community-centered initiatives designed to deepen engagement with Shakespeare across generations. These programs include Community Schools programming in Boise using shortened Play On translations, support for Idaho Shakespeare Festival's statewide school touring initiative called Shakespearience beginning in 2027, summer drama school offerings for students running from 2026 through 2030 and seasonal workshops that bring together artists, educators and community members to explore the plays in collaborative and inclusive ways.

Together, these initiatives reflect a shared commitment to making Shakespeare more inclusive and relevant for learners of all ages.

A central value of the partnership is a shared commitment to equitable representation in casting and artistic practice. Play On defines this as fostering ensembles that reflect a wide range of lived experiences, including race, gender identity, ability and age, while creating meaningful opportunities for artists and communities that have been historically underrepresented in Shakespearean performance.

Play On Shakespeare will further support the partnership through a dedicated Resident Dramaturg, Dr. Lue M. Douthit, Play On Shakespeare's Senior Dramaturg & Co-Founder. Dr. Douthit will collaborate closely with all three organizations to provide dramaturgical insight, audience engagement content and creative consultation throughout the partnership.

With productions, workshops, educational initiatives and new translations on the horizon, this partnership represents a new chapter for Shakespeare in the American theater. One that connects more people to Shakespeare through vibrant, accessible language and ideas,

THE MAGICIANS TABLE Will Come to Playhouse Square in August

Thu, 14 May 2026 05:15:18 PST

Playhouse Square announced that tickets for The Magicians Table will go on sale Wednesday, May 20 at 10 a.m. Presented in partnership with Right Angle Entertainment, The Magicians Table is a table-side close-up magic experience direct from London that offers revellers the opportunity to enter a realm of enchantment as they get lost in a tale of perpetual surprises, love, loss and mystery. An elegant evening out, tinged with a hint of delectable indulgence, The Magicians Table will play at Playhouse Square starting Wednesday, August 26 and will continue for a limited run through Sunday, September 20.

The Magicians Table invites guests to step inside the world of a renowned showman and magician named Dieter Roterberg, as his friends and fellow performers convene one last time to put on a blow-out show to celebrate the legendary illusionist's life following his untimely passing. This intimate evening of close-up magic will play out in a sumptuous setting replete with lush red velvet, flickering candelabras, shadowy alcoves and opulent ambience.

The evening begins with a curated pre-show lounge experience where guests can indulge in signature cocktails and spontaneous sleight-of-hand as magicians and mentalists mingle through the crowd.

Following the pre-show, guests will step into the Roterbergs' private performance space where masterful performers will entertain them with live music, mind-bending illusions and laugh-out-loud comedy. Over the course of two hours, world-class magicians, once part of Dieter's entourage, will perform table-side and on the main stage, wowing guests with spectacular illusions and redefining what the art of magic can be.

The evening is a highly interactive, dazzling and delightfully unconventional night out. Perfect for a date night, a group of family or friends or an unforgettable office outing, The Magicians Table brings a London-born sensation stateside for the first time, promising to leave guests questioning if the impossible could be reality.

The Magicians Table is produced by Alison Spiriti and Justin Sudds of Right Angle Entertainment, in collaboration with BAFTA and Olivier award-winning writer Iain Sharkey, renowned for his work with Derren Brown. The creative team also includes Tom Greenwood-Mears, founder of Cut & Mustard and producer of international tours and immersive experiences, and Kevin Hammonds, an award-winning immersive writer and designer.

THE MAGICIANS TABLE Will Come to Playhouse Square in August

Thu, 14 May 2026 05:15:18 PST

The evening begins with a curated pre-show lounge experience where guests can indulge in signature cocktails and spontaneous sleight-of-hand as magicians and mentalists mingle through the crowd.

Interview: Erinn Crittenden of CINDERELLA at Mimi Ohio Theatre

Thu, 14 May 2026 10:15:34 PST

For almost as long as this current iteration of the Cleveland Ballet has existed, dancer Erinn Crittenden has been a fixture. With her bright eyes, million-watt smile, and an affinity for playing charismatic characters, including the fiery street dancer Mercedes in Don Quixote, Collette in Dracula, Red Riding Hood in The Sleeping Beauty, and the comedic Grandmother in The Nutcracker and Tweedle Dee in Alice in Wonderland, Crittenden has endeared herself to Northeast Ohio audiences.

A Southern California native, Crittenden grew up as an ice skater and competition jazz dancer before switching her focus to ballet. Her early training began at Studio Elite, Inland Pacific Ballet Academy, and The Maple Conservatory of Dance, with summer intensives at Atlanta Ballet, Ballet West, and Charlotte Ballet. She spent two years in Pittsburgh Ballet Theatre's graduate program and two years with Charlotte Ballet as an apprentice before joining Cleveland Ballet in 2019.

The 28-year-old will dance in her final mainstage production with Cleveland Ballet after seven seasons, this weekend in Artistic Director Timour Bourtasenkov's new Cinderella (read my preview here). She will dance the role of a zany stepsister on Friday, May 15, Saturday, May 16, at 7 pm, and on Sunday, May 17, at 1 pm. I spoke with Crittenden recently about her career and what's next.

Erinn Crittenden. Photo by Mark Horning.

Why retire now?
I think every dancer knows when it is time to stop. A few years ago, I finished my degree in Psychology and planned to retire within the next five years. This past December, during The Nutcracker, the return of a recurring hip tendonitis issue convinced me that now was the time to retire. Also, looking around at all the young talent in the company who hadn't yet had the opportunities I had in my career, told me it was time to pass the baton and walk away with gratitude.

Are you just retiring from company life, or completely from dance performance?
I haven't put a lot of thought into that yet. I need some time off to heal my body and experience being a normal human. Right now, the plan is to finish the season with ChoreoLab (June 5th at Near West Theatre). I will likely still teach here at the Academy and in the area, but I will definitely be moving on to a new chapter in my life.

Aren't you the driving force behind ChoreoLab?
I am. A few years ago, Timour and Larry [Goodman, President & Chief Executive Officer) came to the dancers, asking for suggestions for something we could do at the end of the season. I overheard the dancers being curious about what it would look like doing a company choreography project. I had a free venue available to us, and the pieces fell into place from there. I run the ChoreoLab committee and am involved in most of its organization and planning each year. It has been called my legacy; I call it my baby.

How did you end up at Cleveland Ballet?
A dancer friend who was in the company told me about it and advocated for me to come here.

What did you think of Cleveland?
I fell in love wth the city from the second I moved here. The big draw for me was all the nature preserves and places to go hiking. You are 30 minutes from anything you want, whether that's nightlife or the outdoors.

As Red Riding Hood in The Sleeping Beauty. Photo by Mark Horning.

As Grandmother in "The Nutcracker." Photo by Mark Horning.

In "The Nutcracker." Photo by Mark Horning.

What will you miss about company life?
Ballet is completely consuming. It takes your mind, body, and soul. Every single day, you have to give it your all. There aren't many careers like it. I will miss the passion for it. I will also miss the camaraderie of being with my fellow dancers as we work together to put on productions.

What won't you miss?
Funny enough, I also won't miss that it is an all-consuming career. You reach a point where your mind and your body tap out. You're constantly exhausted, and you have to adjust your whole life around it.

How are you approaching your role as a stepsister in Cinderella?
This has always been a dream role of mine, ever since I understudied it as a kid. I have always had a knack for and love of character roles, and Timour has given us a lot of artistic freedom in portraying our characters. I think what's really fun about the stepsister role is balancing it being a comedic role with that of being a villain of sorts. I decided that my stepsister is the more socially awkward of the pair. She is a bit ditsy and just along for the ride when it comes to picking on Cinderella. One of the challenges of the role is that we are supposed to look as if we are really bad at dancing. But in doing so, I still have to use proper technique to dance it. It's a really difficult but fun role to play.

As a stepsister in "Cinderella." Photo by Luca Sportelli Creations.

What advice would you give to someone who wants a career in ballet?
Expect it to be hard. Give yourself plenty of grace through the process. Let yourself feel sad, angry, hopeful, scared, or proud. And let yourself be happy. The best advice I give my female students is that for every job opening in a ballet company, there are probably 600 girls vying for it. Try not to get discouraged; if you really love it, there is a place for you to dance somewhere.

What's next?
My immediate goal is to get into human resources. My ultimate goal is to become a certified counselor and work with dancers on the various issues that come up in their careers. I also want to start a family, am interested in riding horses, and have a crochet business I would like to take to craft fairs.

Cleveland Ballet performs Cinderella, 10:30 AM & 7 PM, May 15, 1 PM & 7 PM, May 16, and 1 PM, May 17, 2026, at Playhouse Square's Mimi Ohio Theatre, 1511 Euclid Ave, Cleveland, Ohio. Tickets $36-$156 with all taxes and fees included. To purchase tickets, visit cleveballet.org/cinderella or call (216) 241-6000.

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.

DISNEY'S THE LION KING Begins at Playhouse Square This June

Mon, 11 May 2026 21:26:04 PST

Casting has been announced for the Cleveland engagement of Disney’s THE LION KING, returning to Playhouse Square from Wednesday, July 8 through Sunday, August 16, 2026. The official opening night will take place Thursday, July 9 at 7:30 p.m.

The production will star Peter Hargrave as Scar, David D’Lancy Wilson as Mufasa, Zama Magudulela as Rafiki, Nick Cordileone as Timon, Nick LaMedica as Zazu, Danny Grumich as Pumbaa, Gilbert Domally as Simba, and Thembelihle Cele as Nala. The cast also includes Forest VanDyke as Banzai, Martina Sykes as Shenzi, Robb Sapp as Ed, William John Austin as standby for Scar and Pumbaa, and Thom Christopher Warren as standby for Scar, Zazu, Timon, and Pumbaa.

Adding a hometown connection to the production, Cleveland native Robb Sapp will return to Playhouse Square in the role of Ed. Sapp has portrayed the character in the Broadway production of THE LION KING since 2021 and previously appeared in the show’s Las Vegas production and North American tour. His additional Broadway credits include WICKED and SHREK.

The role of Young Simba will be alternated by Aaron Chao and Josiah Watson, while Journey Compas and Marley Gomes will alternate as Young Nala.

Additional cast members include Kayla Rose Aimable, Ellen Akashi, Aja Simone Baitey, Eric Bean Jr., Vernon Brooks III, Shaquelle Charles, Reoagile Choabi, Daniela Cobb, Lyric Danae, Maurice Dawkins, Cedrick Ekra, Camryn Hampton, Quiana Onrae'l Holmes, Valériane Louisy Louis Joseph, Joel Karie, Gabisile Manana, Keyveontae' Martin, Morgan Reed McDaniel, Justin Mensah, Aaron Nelson, Yuka Notsuka, Sicelo Ntshangase, Sayiga Eugene Peabody, Poseletso Sejosingoe, Jennifer Theriot, Brena K. Thomas, Courtney Thomas, Ben Toomer, Denzel Tsopnang, and Jordan Nicole Willis.

PERFORMANCE SCHEDULE

In Cleveland, THE LION KING will perform Tuesdays through Fridays at 7:30 p.m., Saturdays at 1:30 p.m. and 7:30 p.m., and Sundays at 1:00 p.m. and 6:30 p.m. Additional matinee performances are scheduled for Thursday, July 9 at 1:30 p.m., Thursday, July 30 at 12:00 p.m., and Thursday, August 13 at 1:30 p.m.

Extra Magic Packages, which include premium seating and show merchandise, will also be available. Tickets may be purchased through Playhouse Square or by calling 216-241-6000. Group orders for 10 or more may be arranged by calling 216-640-8600.

ABOUT THE LION KING

Approaching 30 years on Broadway, Disney’s THE LION KING remains one of the most successful musicals in theatre history. Since premiering in 1997, the production has been seen by more than 130 million people worldwide across 32 global productions.

Currently, productions of THE LION KING are running on Broadway, in London, Paris, Hamburg, Madrid, Tokyo, Mexico City, and on tour throughout North America and Australia. The production has played more than 100 cities in 24 countries and has been performed in nine languages.

Directed and designed by Julie Taymor, the musical won six Tony Awards in 1998, including Best Musical and Best Direction of a Musical. The score features music by Elton John and Tim Rice alongside additional music and lyrics by Lebo M, Mark Mancina, Jay Rifkin, Julie Taymor, and Hans Zimmer.

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THE FERRYMAN By Jez Butterworth 

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THE FERRYMAN By Jez Butterworth 

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