BroadwayWorld.com Raleigh Stories

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.

Tickets to Go on Sale in June for WICKED at Greensboro's Tanger Center

Mon, 08 Jun 2026 16:50:09 PST

WICKED, the Triad's most popular musical, will return to Greensboro to the Steven Tanger Center for the Performing Arts November 18 through December 6, 2026.

Currently the 4th longest-running show in Broadway history, WICKED is currently in its 23rd year on Broadway.

Winner of over 100 international awards including the Grammy Award and three Tony Awards, WICKED has been performed in over 100 cities in 16 countries around the world (U.S., Canada, United Kingdom, Ireland, Japan, Germany, Holland, Australia, New Zealand, Singapore, South Korea, The Philippines, Mexico, Brazil, Switzerland and China) and has thus far been translated into six languages: Japanese, German, Dutch, Spanish, Korean and Portuguese. WICKED has been seen by over 72 million people worldwide and has over $6.2 billion in global sales.

In addition to the Broadway production, WICKED in North America has enjoyed unprecedented record-breaking sit-down engagements in Chicago, where it ran for nearly four years; Los Angeles, where it ran for two years; and San Francisco, where it ran for nearly two years, as well as two North American Tours.

The Broadway sensation WICKED looks at what happened in the Land of Oz…but from a different angle. Long before Dorothy arrives, there is another young woman, born with emerald-green skin, who is smart, fiery, misunderstood, and possessing an extraordinary talent. When she meets a bubbly blonde who is exceptionally popular, their initial rivalry turns into the unlikeliest of friendships…until the world decides to call one “good,” and the other one “wicked.”

TICKET INFORMATION:

Tickets go on sale June 18 at 10 a.m. at TangerCenter.com. Please note that best availability is for November 25 – December 6 performances.
Groups of 10+ are now on sale. Learn more at TangerCenter.com/Groups.

Review: Raleigh Little Theatre’s SCHOOL OF ROCK

Sat, 06 Jun 2026 14:25:03 PST

Based on Richard Linklater's 2003 film of the same name. School of Rock follows Dewey Finn, a down-on-his-luck wannabe rock star who poses as a substitute teacher at a prestigious prep school. When he discovers his students' musical talents, he enlists his fifth-graders to form a rock group and conquer the Battle of the Bands.

Back in 2017, I caught the national tour of this musical at the Durham Performing Arts Center. Since then, the Broadway production ended its run on January 20th, 2019 after 1,309 performances. Following a string of commercial flops with Aspects of Love, Sunset Boulevard (despite achieving a two-year run), By Jeeves, and The Woman in White, this became Andrew Lloyd Webber’s first Broadway hit since The Phantom of the Opera.

Believe it or not, I first saw the original film with my cousins in theaters when it came out. At the time, my dad had access to a limousine, which we took to get to the movie. I especially remember this because back then, my older brother looked like Harry Potter. So we talked about how if anyone happened to have asked about the limo, we probably would’ve jokingly said something like “Daniel Radcliffe’s here!.”

I must say that revisiting this musical at Raleigh Little Theatre nearly a decade later in a way feels fitting. The story follows an amateur musician wanting to perform with a group of people for fun. It actually lends itself to a community theatre production perfectly. Not to mention that this taking place inside RLT’s Cantey V. Sutton Theatre is also fitting as the space is not too big nor too small, it’s just right for a rock show.

Under the direction of Susannah Hough, everything works so well. Freddie-Lee Heath’s choreography is energetic. Jared Kirkpatrick’s sound design makes it feel as if you’re at a rock concert. Julianna Babcock has probably achieved some of the very best lighting design I’ve ever seen at RLT. Yet most importantly, everyone in the cast really brings it their all.

Erik Agle is an absolute rock star as Dewey Finn. He not only sings very well and is pretty funny, but he also nails his character arc. He starts out as this careless lazy bum who’s posing as a teacher to make money, but later grows to care for his students. Alex Bailey Hudson is really good as the school’s principal, Rosalie Mullins. The character may be straight-laced on the surface, but through her big Act II number, ‘Where Did the Rock Go?,’ she reveals quite a bit of humanity.

Each of the kids work very well together. Among them are Jeffy Black as Zach Mooneyham, Aaron Agle (Erik’s real-life son) as Freddie Hamilton, Jane Kelley as Katie, Stewart McClelland as Lawrence, Madison Cribbs as Summer Hathaway, Cameron McBrien as Mason Ward, Landon Ives as Billy Sanford, Clayton Mack III as James, Larkin Clemmons as Marcy, Ballard Baker as Shonelle, Flynn McElroy as Sophie, and Natalie Walton as Madison. Although Autumn Ducler-Pearson as Tomika stands out from everyone. She starts off as this shy kid, but later reveals such impressive vocals in Act II. May not be the most original character arc in the world, but it works.

Remarkable how a musical like this works as well as it does despite its authors not looking like an ideal fit for it on paper. The book is by Julian Fellowes, the creator of Downton Abbey and The Gilded Age, adapted from a screenplay penned by Mike White, who is now riding high as the creator of The White Lotus. Most of the music is by Andrew Lloyd Webber, even though this does take him back to his roots writing rock musicals like Jesus Christ Superstar. The lyrics are by Glenn Slater, who’s mainly known for his collaborations with Alan Menken on Tangled, the Sister Act musical, and the Broadway stage adaptation of The Little Mermaid. Yet together, Fellowes, Lloyd Webber, and Slater have each crafted a feel-good show with a great message that’s bound to entertain audiences of all ages. Raleigh Little Theatre’s production absolutely does it justice!

For more information, please click here.

Review: DEAR EVAN HANSEN at Theatre Raleigh

Thu, 04 Jun 2026 21:58:29 PST

When Dear Evan Hansen premiered on Broadway in 2016, it quickly became one of the defining musicals of its generation, winning six Tony Awards, including Best Musical. A decade later, its themes of loneliness, social media, and the desire for connection feel just as relevant, if not more so. Theatre Raleigh’s production embraces those ideas while delivering a heartfelt and emotionally engaging evening led by a remarkably strong cast.

The story follows Evan Hansen, a socially anxious high school student who becomes entangled in a lie after a tragic misunderstanding involving classmate Connor Murphy. What begins as an attempt to comfort a grieving family quickly spirals into something much larger, forcing Evan to confront questions of honesty, belonging, and who he wants to be.

One of the production’s greatest strengths is its visual presentation. Scenic Designer Kevin Judge and Projection Designer Darby E. Madewell have created a clean, modern environment that feels perfectly suited to the show’s relationship with technology and social media. Vertical columns double as screens, displaying text messages, videos, and social feeds while also projecting various set elements to establish the scene. Jessica Boevers Bogart’s direction keeps the production moving at a brisk pace while finding creative ways to elevate the material. “Waving Through a Window” and “You Will Be Found” are particular standouts, with cell phones becoming extensions of the characters themselves as the light of the screens literally cut through the darkness around them. I’m always a sucker for good “light choreography,” and these sequences were some of the production’s strongest visual moments.

Social media functions as another character in the story. When Dear Evan Hansen premiered, its depiction of online virality felt like commentary. Now, it simply feels like reality. Students scroll endlessly, search for validation through likes and shares, and process major events through their screens, with their phones serving as their gateway to the world. The production smartly updates many of those references, with TikTok replacing older platforms as the dominant social space and small details, like One Piece’s Luffy appearing as a character’s chat icon, helping the show feel rooted firmly in the present.

Jason Thomas Clyde takes on one of the most demanding roles in modern musical theatre as the titular Evan Hansen. Rarely leaving the stage, Clyde approaches the role with sincerity and strong physical characterization, capturing Evan’s awkwardness, anxiety, and desperation without turning him into a caricature. The role requires an actor capable of carrying the audience through nearly every moment of the story, and Clyde proves more than capable of shouldering that responsibility.

JT Snow is a standout as Jared Kleinman, bringing much-needed comic relief and charisma throughout the evening. Snow has excellent timing and a natural Stage Presence that consistently earns some of the show’s biggest laughs. The stage truly comes alive during “Sincerely Me”, one of the production’s strongest numbers. Snow, Clyde, and Mitchell Treg Brown fully commit to the song’s absurdity and infectious energy, creating a moment that feels like a welcome release amid some of the heavier material. Brown also makes a strong impression as Connor Murphy. While Connor’s role is relatively limited by the structure of the book, Brown makes the most of every moment he is given, bringing a strong vocal performance and a presence that lingers even when the character is offstage.

The Murphy family delivers some of the evening’s most powerful moments. Isabella Denissen’s Zoe Murphy is a standout throughout, her vocals bringing warmth and vulnerability to the role. Jenny Latimer and Will Ray are incredibly strong as Cynthia and Larry Murphy, navigating the complicated realities of grief with honesty and restraint. The trio’s performance of “Requiem” is one of the musical highlights, beautifully capturing three very different responses to loss within the same family.

Catherine Brunell delivers a touching performance as Heidi Hansen. Her relationship with Evan serves as one of the show’s strongest emotional anchors, culminating in a heartfelt rendition of “So Big / So Small.” Casting deserves a particular shoutout, not only for the immense talent assembled onstage, but for bringing together performers who genuinely look and feel like families.

The high school ensemble deserves immense recognition as well, being completely composed of young performers either in high school, college, or having recently graduated. Their collective energy brings authenticity and life to the production, helping create a believable world around Evan. I found myself wanting more time with them, a testament to the strength of the performers, and Lauren Kennedy Brady and Eric Woodall's commitment to supporting the next generation of theatre artists.

Musically, the score remains the show’s secret weapon. Music Director Beth G. Tankersley leads a strong orchestra that brings Pasek and Paul’s music to life while keeping the focus squarely on the performers. Whatever reservations I may have about aspects of the book, Pasek and Paul’s music consistently pulls me back in. “You Will Be Found” in particular serves as a powerful Act One finale, and you could feel the audience become completely locked in, mirroring the virtual audience within the story itself. There were plenty of laughs throughout the night, but also audible gasps, particularly as Act Two unfolded and Evan’s increasingly tangled web of lies became harder to maintain.

The production’s biggest challenges ultimately stem not from Theatre Raleigh’s execution, but from the material itself. Dear Evan Hansen remains emotionally effective, but its treatment of suicide and the deception at the center of the story feels more complicated today than it did when the musical premiered. We never truly get to know Connor before he is gone, leaving both the characters and the audience trying to make sense of someone they barely understood in life.

Even so, Theatre Raleigh’s production never loses sight of the humanity at the center of the story. The cast approaches the material with sincerity, compassion, and remarkable talent, while inventive staging and strong direction help bring Pasek and Paul’s memorable score to life. Dear Evan Hansen may not be a perfect musical, but this is an outstanding production of it. By the final bow, it is impossible not to feel the impact of the work Theatre Raleigh has put onstage.

Dear Evan Hansen runs at the De Ann S. Jones Theatre at Theatre Raleigh through June 21. Limited tickets remain.

All photos by Jennifer Robertson Photography.

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.

Video: Watch the Trailer For DEAR EVAN HANSEN at Theatre Raleigh

Thu, 04 Jun 2026 14:50:54 PST

Theatre Raleigh has released a first look at DEAR EVAN HANSEN, currently running from June 3 through June 21 at the De Ann S. Jones Theatre at the Theatre Raleigh Arts Center. Directed by Jessica Boevers Bogart, the production brings the six-time Tony Award-winning musical to Raleigh for a limited engagement.

The musical, featuring a score by Benj Pasek and Justin Paul, follows a high school student navigating isolation and connection. The production received nine Tony Award nominations and won six, including Best Musical, Best Score, Best Actor, and Best Featured Actress.

The cast includes Catherine Brunell, whose Broadway credits include Les Misérables, Mary Poppins, Elf, and Mean Girls, alongside University of Michigan student Jason Thomas Clyde in the title role. Additional performers will include Will Ray as Larry Murphy and Jenny Latimer as Cynthia Murphy.

The creative team includes musical director Beth G. Tankersley. The production will also feature a youth ensemble drawn in part from Theatre Raleigh ACT, the organization’s training program.

Click Here to Play!

AN EVENING WITH SUTTON FOSTER Announced at Duke University

Tue, 02 Jun 2026 22:11:58 PST

An Evening with Sutton Foster will be presented on Jan. 14, 2027 at Duke University's Page Auditorium. This special event is a co-production by Theatre Raleigh and Duke Arts.

Foster (shown at right) is a two-time Tony Award winning performer having won Best Actress in a Musical for her performances in "Thoroughly Modern Millie" and "Anything Goes." She has been nominated for Tony Awards for her performances in "Little Women" (2005), "The Drowsy Chaperone" (2006), "Shrek the Musical" (2009), "Violet" (2014) and "The Music Man" (2022). Television viewers may recognize Foster for starring as Liza Miller in the hit TV Land show, "Younger," which aired from 2015-2021.

At this special event, Foster will perform alongside fellow Broadway performer and longtime friend Megan McGinnis, whose credits include "Beetlejuice," "Little Women," "Les Misérables" and "Beauty and the Beast." The two have performed together for years and will bring warmth, humor and a shared love of musical theater to this Durham audience.

Tickets will start at $45. Duke Arts and Theatre Raleigh subscribers will have the first opportunity to buy tickets at 11 a.m. June 4, 2026. Non-subscribers will not be able to purchase tickets for this event until June 23, 2026.

Single tickets go on sale at 11 a.m. June 23, 2026 via the Duke Arts box office at https://tickets.duke.edu/dukearts/Online/default.asp.

Theatre Raleigh is the region's premier professional, nonprofit theatre company. Executive director Lauren Kennedy Brady is a former Broadway performer and now a co-producer of the four-time Tony Award-nominated play, "Titaníque." Kennedy and her Theatre Raleigh team consistently bring in top Broadway talent to the Triangle for their shows; this is the second time Theatre Raleigh has collaborated with Duke Arts on a show. The last one was "Bull Durham: A New Musical," which was performed at Reynolds Auditorium in fall 2024.

AN EVENING WITH SUTTON FOSTER Announced at Duke University

Tue, 02 Jun 2026 22:11:58 PST

An Evening with Sutton Foster will be presented on Jan. 14, 2027 at Duke University's Page Auditorium. This special event is a co-production by Theatre Raleigh and Duke Arts.

Single tickets go on sale at 11 a.m. June 23, 2026 via the Duke Arts box office at https://tickets.duke.edu/dukearts/Online/default.asp.

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)

SCHOOL OF ROCK to Open at Raleigh Little Theatre This Summer

Fri, 29 May 2026 05:18:05 PST

Raleigh Little Theatre is ready to turn up the volume this summer with School of Rock, the electrifying musical based on the hit Paramount movie by Mike White. Featuring a book by Julian Fellowes, lyrics by Glenn Slater, and new music by Andrew Lloyd Webber, the production runs June 5-28 in Raleigh Little Theatre’s Cantey V. Sutton Theatre.

Directed by Susannah Hough, with music direction by Diane Petteway and choreography by Freddie-Lee Heath, School of Rock follows Dewey Finn, a struggling rock musician who impersonates his roommate in order to land a substitute teaching job at a prestigious prep school. What begins as a desperate scheme quickly transforms into an inspiring journey as Dewey helps his students discover confidence, creativity, and the power of music. Packed with live rock music, laugh-out-loud comedy, and heartwarming moments, School of Rock is a feel-good musical celebration for audiences of all ages.

“School of Rock is a loving testimony to the transformative power of music and community,” said director Susannah Hough. “Behind the scenes, our own community has mirrored the story on stage. We brought together seasoned adults, energetic kids, and brave individuals stepping onto a stage for the very first time. Watching these different generations collaborate, learn from one another, and build a creative family has been the true magic of this process. It turns out that rock and roll, much like community theatre, thrives on a little bit of madness and a lot of heart.”

Hough, who previously directed Something Rotten! at Raleigh Little Theatre during the 2024-2025 season, also shared why returning to RLT continues to be meaningful to her.

“RLT is the crown jewel of community theatre here in the Triangle,” Hough said. “Theatre should be accessible to everyone, and RLT creates opportunities for people of all ages and experience levels to explore storytelling, creativity, and connection through the arts.”

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.

Thalian Hall Center for the Performing Arts To Host Hubblo Immersive Dome

Sun, 24 May 2026 10:54:51 PST

Thalian Hall Center for the Performing Arts is set to host the Hubblo Immersive Dome from Québec in residence for the entire month of June 2026. This incredible 30-foot dome utilizes cutting-edge immersive technology, offering audiences a 360° experience that brings films to life like never before.

During its month-long residency, the Hubblo Dome will present four captivating immersive experiences with multiple showtimes daily, featuring:

Pink Floyd’s Dark Side of the Moon – The legendary album is celebrating its 50th anniversary; reimagined in a fully immersive visual journey based on the iconic album artwork.

Bébé Symphonique – A slow-moving sensory symphony designed to delight infants ages 0-18 months and their caregivers in this baby-friendly environment.

Aurorae / One Day on Mars (Double-Feature) – A mesmerizing combination of natural and cosmic wonders featuring the northern lights and a trip to Mars.

Close Encounters / Total Eclipse (Double-Feature) – A family friendly double-feature showcasing one of a kind wild encounters and chronicling the journey of a Kentucky, an insomniac chicken in search of a good night’s sleep.

“Thalian Hall is excited to partner with Québec’s government to bring the Hubblo Dome to North Carolina for the first time," said Shane Fernando, Thalian Hall CEO. “This installation will serve as a preview to the types of programming that will be available in the Hippodrome on the other side of the Thalian Hall Transformation project. We are proud to be one of the pioneers for immersive experience technology in the American South.”

Advance tickets are recommended and can be purchased at the Thalian Hall website or by calling the box office at 910.632.2285.

Review: HAMILTON National Tour at Durham Performing Arts Center

Fri, 22 May 2026 12:24:56 PST

Based on Ron Chernow's 2004 biographical book titled Alexander Hamilton, this musical tells the true story of America's $10 Founding Father. The story begins when he was an immigrant who came to New York from the West Indies. Eventually, he became George Washington's right-hand man during the Revolutionary War and was later named the nation's first Treasury Secretary.

Currently, this cultural phenomenon is in its tenth year on Broadway. Believe it or not, I actually first saw Hamilton on June 11th, 2016, just the day before it won 11 Tony Awards (including Best Musical). Getting to be in “The Room Where It Happens” around that time was quite exciting. Especially back during the height of when tickets were impossible to get. Since then, the show has been to DPAC twice in 2018 and 2022, respectively.

Within the past decade and a half, more people have discovered the musical than ever before thanks to a live capture that was filmed in June 2016. When Walt Disney Pictures acquired it, they originally planned a theatrical release for October 15th, 2021. Yet due to the shutdown of all movie theaters and performing arts venues due to COVID-19, the release was moved up to July 3rd, 2020 on Disney+. It ended up becoming one of the most watched straight-to-streaming titles of that year.

After seeing Hamilton (in person) a third time, it still amazes me how Lin-Manuel Miranda took all this historical research and compressed it all into a three-hour rap musical. Let alone the fact that this three-hour rap musical is a very coherent one at that. Director Thomas Kail’s staging successfully keeps everything moving at such an excellent pace. Andy Blankenbuehler’s choreography remains just as precised as ever. Alex Lacamoire’s orchestrations still do a brilliant job of bringing Miranda’s score to life. The lighting designed by the late Howell Binkley remains very effective.

The cast this time around truly makes these (now) iconic roles their own. Tyler Fauntleroy gives a charismatic, yet wise portrayal of Alexander Hamilton. This makes him very easy to follow from his arrival to New York to his death in 1804. Jimmie “J.J.” Jeter’s performance as Aaron Burr on the surface appears understated. Yet underneath, it’s revealed to be quite a dynamic one at that. Especially as the show goes on. Amanda Simone Lee, who went on for Lily Soto, as Eliza Schuyler Hamilton is such a powerhouse. Especially in her powerful rendition of her Act II solo number, ‘Burn.’ Marja Harmon as Angelica Schuyler delivers a heartbreaking rendition of her big Act I number, ‘Satisfied.’ Matt Bittner is very amusing as King George III, the comic relief character in the piece. In the roles of Marquis de Lafayette and Thomas Jefferson, Christian Magby truly brings the house down. Although Nathan Haydel is an absolute firecracker as John Laurens and Philip Hamilton.

Over a decade later, seeing Hamilton live remains just as exhilarating as ever. The crowd still goes nuts for it. Several of the characters (deservedly) got their own entrance applause. It literally feels as if you’re at a rock concert. I was fortunate enough to have attended this performance with a friend who had been wanting to see this show for years, and was BLOWN AWAY. That’s a great thing about long-running hits such as this, there’s still people out there who are experiencing it for the very first time. Whether you’ve seen Hamilton before or not, this touring production won’t disappoint you. If you’ve only seen it on Disney+ and not in person, you’ll most certainly have a GREAT excuse to finally experience this American masterpiece live.

For more information, please click here.

WAIT TIL YOU SEE THIS! 2026 to Run in Repertory at Burning Coal Theatre

Fri, 22 May 2026 05:14:27 PST

Burning Coal Theatre Company will host Wait Til You See This! 2026 its Second Stage Series of collaborations with emerging artists. This year's productions include Shadows in Red Light (written by Roné Roux Sargent), Danger! (written by and performed by Lucius Robinson), and Dr. Ride's American Beach House (written by Liza Birkenmeier and co-produced with Brave New Classics). The three plays will run in repertory, June 11 – 28, 2026, at Burning Coal Theatre, 224 Polk Street, Raleigh, NC 27604.

Shadows in Red Light by Roné Roux Sargent will perform Saturday, June 13th and Sunday, June 28th, at 2:00 pm; Sunday, June 14th and Sunday, June 21 at 5:00 pm; Thursday, June 18th and Friday, June 26th at 7:30 pm at Burning Coal Theatre.

Danger! by Lucius Robinson will perform Saturday, June 20th and Saturday, June 27th at 2:00 pm; Thursday, June 11th, Friday, June 12th, Friday, June 19th, and Saturday, June 27th at 7:30 pm at Burning Coal Theatre.

Dr. Ride's American Beach House by Liza Birkenmeier and co-produced with Brave New Classics performs Saturday, June 13th, Saturday, June 20th, and Thursday, June 25th at 7:30 pm; Sunday, June 14th and Sunday, June 21st at 2:00 pm; Sunday, June 28th at 5:00 pm at Burning Coal Theatre.

About Shadows in Red Light, by Roné Roux Sargent

A concert version of a new musical set during the AIDS epidemic in New York City.

A single mother thinks she is placing her baby in foster care. Years later, as Angeline faces adversity, she longs to find her mother she believes abandoned her. Themes of hope, sacrifice, and belonging shape this story about love in its many forms.

Jerome Davis (Director). For Burning Coal Theatre: My Fair Lady, Merrily We Roll Along, Copenhagen, A Little Night Music, Arcadia, Evita, Ashe in Johannesburg, The Weir (twice), Rat in the Skulll, Pentecost, Winding the Ball, Steward of Christendom, Night & Day, Company, Road to Mecca (twice), Juno & the Paycock, Accidental Death of an Anarchist, Taming of the Shrew, Inherit the Wind, Hamlet, Hysteria, Prisoner's Dilemma, 1960, The Seafarer, Shape of the Table, Enron, Jude the Obscure Parts 1 & 2, Shining City, The Heretic, Iron Curtain Trilogy (Raleigh and London), Sunday in the Park with George, Spoonface Steinberg, Written on the Heart, Dark Vanilla Jungle (London), Iphigenia in Splott (Raleigh and DC). Acting: Love's Labours Lost, Mound Builders, St. Nicholas, Skylight, and Talley's Folly (Raleigh and London). Also, Skylight in Orlando and King Lear(Lear/Wilmington). Other: See How They Run (Southern Pines), Twelfth Night in Apex, and Turn of the Screw for NC Opera. Jerry worked with or studied with Uta Hagen, Adrian Hall, Richard Jenkins, Hope Davis, Horton Foote, Denis O'Hare, Nikos Psacharapolous, Julie Bovasso, Steve Harris, Ralph Waite, Oliver Platt, Ben Gazzarra and Ellen Burstyn at Trinity Rep (Providence), People's Light & Theatre (Philadelphia), NJ Shakespeare, SoHo Rep, Barrow Group, Columbia University, Phoenix Theatre (SUNY/Purchase). This is his 29th year running Burning Coal, which he and his wife, Simmie Kastner, founded in 1995. He received the 2019 Raleigh Medal of Arts.

Roné Roux Sargent (Playwright) is a North Carolina-based composer, playwright, and performer. She holds a master's degree in music (Stellenbosch University) and has a passion for telling stories through her music, which has been performed in South Africa, Germany, and the United States. She wrote Shadows in Red Light between 2010-2013 and produced/directed its South African premiere in 2017. Since then, she has produced/directed six GALAxy Concerts, one-person shows (After “The End”; A Taste of Song), and music concerts (Skemerklanke; Music at Home). Now, she is beyond thrilled for the US premiere of Shadows of Red Light, an absolute dream come true.

About Danger! by Lucius Robinson

A wild solo show about a man who is convinced his neighbor's son is a changeling, and the lengths he will go to prove this monster lives among us. Originally seen at the Charm City Fringe Festival, as well as festivals in California, Kansas City and Rhode Island, Raleigh native Lucius Robinson returns for a third summer with Burning Coal.

Lucius Robinson (Mitch) is a Princess Grace award-winning actor, director, writer, and teacher who received his MFA from the Dell'Arte International School of Physical Theater. He premiered DANGER! at the 2017 Charm City Fringe Festival, where it won Best of Fringe, and it subsequently played at the Mad River Festival in Blue Lake, CA, the Kansas City Fringe Festival, and the Providence Fringe Festival. As a deviser, he has created and performed in A House (After Ibsen's Ghosts); Forgive Us, Gustavito; Irvinville; A Ballade of Panic; Hell To Pay; Fuzzy Goo's Guide To The Earth, and Ruzzante Comes Home From The Wars. He fondly remembers Manbites Dog, Raleigh Ensemble Players, DeepDish, and Common Ground theaters and the amazing impact they had on him growing up in this area. For Burning Coal: Hamlet, The Lovesong of J. Robert Oppenheimer, The Prisoner's Dilemma, Twelfth Night, Henry V (On Trapeze), The Diary of Anne Frank, Charles III, The Weir, Howie The Rookie. For Fred and John.

About Dr. Ride's American Beach House by Liza Birkenmeier

It's 1983, the evening before Dr. Sally Ride's historic space flight. Hundreds of miles from the launch, a group of women with passionate opinions and no opportunities sit on a sweltering St. Louis rooftop watching life pass them by. Their uncharted desires bump up against American norms of sex and power in this intimate snapshot of queer anti-heroines.

Brave New Classics was founded in 2020 by Noelle Azarelo, an actor, director, costumer, and overall Triangle stage veteran. Precluded by the pandemic from traditional stage productions, Noelle and an assemblage of Triangle talent launched multiple virtual plays – reimagined classics by playwrights such as Mae West, Alice Gerstenberg, and Rachel Crothers. With a focus on women's and queer voices, productions were performed and streamed live over Twitch or pre-recorded and made available via YouTube, where they can still be viewed today. Shows included Rachel Crothers' HE & SHE(Chatham Life & Style Outstanding Virtual Production, Outstanding Ensemble Performance – 2020), Mae West's SEX, and THE SECOND SHEPHERD'S PLAY. In 2024, Brave New Classics launched their first traditionally staged show – HITCHCOCK BLONDE – to critical acclaim at the Durham Arts Center. Throughout 2025, the company produced several Shakespeare Roulette events, where actors are assigned roles 5 minutes before curtain -at various Triangle locations. Now, they look forward to partnering with Burning Coal Theatre to stage Liza Birkenmeier's brilliant new play, DR RIDE'S AMERICAN BEACH HOUSE, in June 2026.

Noelle Azurlo (Producer) is a Durham-based director, actor, and producer and is the founder of Brave New Classics. For BNC: Hitchcock Blonde (The Blonde), The Verge (Claire Archer), The Rover (Director), He & She (Director). For Burning Coal: Lipstick Traces, Einstein's Dreams, and an assemblage of KidsWrites, Oakwoods, staged readings, and school tours over the years.

Laurel Ullman (Producer), based in Raleigh, is a performer, director, and producer who is delighted to be working at Burning Coal once again. As a performer: for Burning Coal: The Rainmaker, Haughey/Gregory, Silent Sky, Galileo. For Burning Coal 2nd Stage: Or; Crumble (Lay Me Down Justin Timberlake), Closer. Other Triangle appearances include POTUS with Vixen Theatre, Stop Kiss and 12 Angry Jurors with Justice Theatre Project; Small and Tired and Contractions with Common Wealth Endeavours; The Fairytale Lives of Russian Girls with Manbites Dog; and Cloud 9 with Tiny Engine, among others. Laurel received her BA in theatre from UNC-Greensboro.

Ruth Berry (Director) is a Durham-based Director, Stage Manager, and Actor who is excited to work with Burning Coal for the first time. With Brave New Classics — Hitchcock Blonde and Overtones (Director), as well as The Half Life of Marie Curie (Assistant Director) and Saint Lucy's (Assistant Director & Stage Manager). With the Justice Theatre Project — Stop Kiss (Assistant Director) and Thanksgiving Play (Assistant Stage Manager). With Women's Theatre Festival — Bureaucrazy, Headline for a Hero, Gel Us, and Escape Velocity (Director), as well as Dance Nation (Stage Manager). As an actor, Ruth was Enid in Legally Blonde (Cary Players), Fairy Helper in Cinderella (Raleigh Little Theatre), and Trinculo in The Tempest (HiSTORY Stage). Ruth received her BA in Theatre from Campbell University and her Master's of Library Science from ECU.

WAIT TIL YOU SEE THIS! 2026 to Run in Repertory at Burning Coal Theatre

Fri, 22 May 2026 05:14:27 PST

About Shadows in Red Light, by Roné Roux Sargent

A concert version of a new musical set during the AIDS epidemic in New York City.

About Danger! by Lucius Robinson

About Dr. Ride's American Beach House by Liza Birkenmeier

BRIDGERTON BRUNCH FUNDRAISER to Support Pure Life Theatre's 2026-2027 Season

Wed, 20 May 2026 05:34:49 PST

Pure Life Theatre Company invites the community to an elegant and immersive fundraising experience, The Bridgerton Brunch, to be held in the William Peace University Parlor in the Main Building on June 13 from 11:30 AM to 3:00 PM. Inspired by the charm and pageantry of the Regency era, this special event lets guests support the arts while enjoying an afternoon of connection, creativity, and celebration.

The Bridgerton Brunch will transform the historic Parlor into a garden-inspired gathering space, featuring refined décor, engaging entertainment, and meaningful fellowship. Headlining the event are guest speaker Terry Williams Spicer and entertainment artist Kimberly Michelle. The afternoon also includes a silent auction, promenade, catered cuisine, interactive games, and curated experiences designed to delight and engage guests throughout.

“This event beautifully reflects who we are as an organization—rooted in community, storytelling, and shared experience,” said Deb Royals, one of the five original founders of Pure Life Theatre Company and its Director of Development and Technical Director. “The Bridgerton Brunch allows us to celebrate together while ensuring our work remains accessible and impactful for the audiences and communities we serve.”

The Bridgerton Brunch brings together arts supporters in a festive, welcoming environment to raise essential funds for Pure Life Theatre Company's programming. Proceeds from the event will directly support the organization's 2026–2027 season, including mainstage productions, student matinees, accessibility initiatives, and community engagement efforts throughout the Triangle.

Attendees are encouraged to embrace the spirit of the occasion with elegant, garden-party or Regency-inspired attire, contributing to the immersive and celebratory atmosphere of the event.

Second Stage Series Will Come to Burning Coal Theatre

Wed, 20 May 2026 05:34:34 PST

Burning Coal Theatre Company will host Wait Til You See This! 2026, its Second Stage Series of collaborations with emerging artists. This year's productions include Shadows in Red Light (written by Roné Roux Sargent), Danger! (written by and performed by Lucius Robinson), and Dr. Ride's American Beach House (written by Liza Birkenmeier and co-produced with Brave New Classics). The three plays will run in repertory, June 11 – 28, 2026, at Burning Coal Theatre, 224 Polk Street, Raleigh, NC 27604.

ABOUT SHADOWS IN RED LIGHT, BY RONÉ ROUX SARGENT

A concert version of a new musical set during the AIDS epidemic in New York City.

Jerome Davis (Director). For Burning Coal Theatre: My Fair Lady, Merrily We Roll Along, Copenhagen, A Little Night Music, Arcadia, Evita, Ashe in Johannesburg, The Weir (twice), Rat in the Skull, Pentecost, Winding the Ball, Steward of Christendom, Night & Day, Company, Road to Mecca (twice), Juno & the Paycock, Accidental Death of an Anarchist, Taming of the Shrew, Inherit the Wind, Hamlet, Hysteria, Prisoner's Dilemma, 1960, The Seafarer, Shape of the Table, Enron, Jude the Obscure Parts 1 & 2, Shining City, The Heretic, Iron Curtain Trilogy (Raleigh and London), Sunday in the Park with George, Spoonface Steinberg, Written on the Heart, Dark Vanilla Jungle (London), Iphigenia in Splott (Raleigh and DC). Acting: Love's Labours Lost, Mound Builders, St. Nicholas, Skylight, and Talley's Folly (Raleigh and London). Also, Skylight in Orlando and King Lear (Lear/Wilmington). Other: See How They Run (Southern Pines), Twelfth Night in Apex, and Turn of the Screw for NC Opera. Jerry worked with or studied with Uta Hagen, Adrian Hall, Richard Jenkins, Hope Davis, Horton Foote, Denis O'Hare, Nikos Psacharapolous, Julie Bovasso, Steve Harris, Ralph Waite, Oliver Platt, Ben Gazzarra and Ellen Burstyn at Trinity Rep (Providence), People's Light & Theatre (Philadelphia), NJ Shakespeare, SoHo Rep, Barrow Group, Columbia University, Phoenix Theatre (SUNY/Purchase). This is his 29th year running Burning Coal, which he and his wife, Simmie Kastner, founded in 1995. He received the 2019 Raleigh Medal of Arts.

Roné Roux Sargent is a North Carolina-based composer, playwright, and performer. She holds a master's degree in music (Stellenbosch University) and has a passion for telling stories through her music, which has been performed in South Africa, Germany, and the United States. She wrote Shadows in Red Light between 2010-2013 and produced/directed its South African premiere in 2017. Since then, she has produced/directed six GALAxy Concerts, one-person shows (After “The End”; A Taste of Song), and music concerts (Skemerklanke; Music at Home). Now, she is beyond thrilled for the US premiere of Shadows of Red Light, an absolute dream come true.

ABOUT DANGER! BY Lucius Robinson

Lucius Robinson (Mitch) is a Princess Grace award-winning actor, director, writer, and teacher who received his MFA from the Dell'arte International School of Physical Theatre. He premiered DANGER! at the 2017 Charm City Fringe Festival, where it won Best of Fringe, and it subsequently played at the Mad River Festival in Blue Lake, CA, the Kansas City Fringe Festival, and the Providence Fringe Festival. As a deviser, he has created and performed in A House (After Ibsen's Ghosts); Forgive Us, Gustavito; Irvinville; A Ballade of Panic; Hell To Pay; Fuzzy Goo's Guide To The Earth, and Ruzzante Comes Home From The Wars. He fondly remembers Manbites Dog, Raleigh Ensemble Players, DeepDish, and Common Ground theaters and the amazing impact they had on him growing up in this area. For Burning Coal: Hamlet, The Lovesong of J. Robert Oppenheimer, The Prisoner's Dilemma, Twelfth Night, Henry V (On Trapeze), The Diary of Anne Frank, Charles III, The Weir, Howie The Rookie. For Fred and John.

ABOUT DR. RIDE'S AMERICAN BEACH HOUSE BY Liza Birkenmeier

“Luscious. Funny. Erotic. The play itself just keeps soaring up and up and up.” - Vulture

Brave New Classics was founded in 2020 by Noelle Azarelo, an actor, director, costumer, and overall Triangle stage veteran. Precluded by the pandemic from traditional stage productions, Noelle and an assemblage of Triangle talent launched multiple virtual plays – reimagined classics by playwrights such as Mae West, Alice Gerstenberg, and Rachel Crothers. With a focus on women's and queer voices, productions were performed and streamed live over Twitch or pre-recorded and made available via YouTube, where they can still be viewed today. Shows included Rachel Crothers' HE & SHE (Chatham Life & Style Outstanding Virtual Production, Outstanding Ensemble Performance – 2020), Mae West's SEX, and THE SECOND SHEPHERD'S PLAY. In 2024, Brave New Classics launched their first traditionally staged show – HITCHCOCK BLONDE – to critical acclaim at the Durham Arts Center. Throughout 2025, the company produced several Shakespeare Roulette events, where actors are assigned roles 5 minutes before curtain - at various Triangle locations. Now, they look forward to partnering with Burning Coal Theatre to stage Liza Birkenmeier's brilliant new play, DR RIDE'S AMERICAN BEACH HOUSE, in June 2026.

Ruth Berry (Director) is a Durham-based Director, Stage Manager, and Actor who is excited to work with Burning Coal for the first time. With Brave New Classics — Hitchcock Blonde and Overtones (Director), as well as The Half Life of Marie Curie (Assistant Director) and Saint Lucy's (Assistant Director & Stage Manager). With Justice Theatre Project — Stop Kiss (Assistant Director) and Thanksgiving Play (Assistant Stage Manager). With Women's Theatre Festival — Bureaucrazy, Headline for a Hero, Gel Us, and Escape Velocity (Director), as well as Dance Nation (Stage Manager). As an actor, Ruth was Enid in Legally Blonde (Cary Players), Fairy Helper in Cinderella (Raleigh Little Theatre), and Trinculo in The Tempest (HiSTORY Stage). Ruth received her BA in Theatre from Campbell University and her Master's of Library Science from ECU.

BWW Q&A: Catherine Brunell Stars as Heidi Hansen in DEAR EVAN HANSEN at Theatre Raleigh

Tue, 19 May 2026 16:38:16 PST

Theatre Raleigh will present DEAR EVAN HANSEN, running June 3 through June 21, 2026. The contemporary musical, featuring a score by Benj Pasek and Justin Paul and a book by Steven Levenson, explores mental health, family, and connection through the story of an anxious teenager and the mother working to reach him.

Catherine Brunell stars as Heidi Hansen. Brunell recently closed the Broadway national tour of Mrs. Doubtfire, where she played Miranda Hillard opposite Rob McClure. Her Broadway credits include Mean Girls, Something Rotten, the title roles in Mary Poppins and Thoroughly Modern Millie, and Eponine in Les Misérables at the Imperial Theatre, along with Big River, A Tale of Two Cities, and Elf. Her career began while attending Northwestern University, when she was cast from an open-call audition in the national tour of Les Misérables. Her national tour and regional credits include Big River at Ford's Theatre, Anything Goes at Williamstown Theatre Festival, Paramour at The Old Globe, and numerous productions at the St. Louis MUNY, where she was twice nominated for a Kevin Kline Award for Best Actress. On television, she has appeared in Netflix's The Unbreakable Kimmy Schmidt and NBC's The Sound of Music Live! A frequent soloist with the Carolina Philharmonic in Pinehurst, NC, Brunell resides in New Jersey with her husband and three children. BroadwayWorld spoke with her about taking on the role.

What drew you to the role of Heidi Hansen, and what do you find most compelling about her journey as a mother in Dear Evan Hansen?

I was spellbound by Rachel Bay Jones' Broadway performance as Heidi. She perfectly captured the challenges of motherhood—the constant cycle of succeeding and faltering all while striving to be the best parent possible. As a mother of three, I deeply relate to those personal challenges, the duality inherent in parenting. I also connected to the complexities of navigating a teenager's mental health struggles.

How does it feel to bring Dear Evan Hansen to Theatre Raleigh, and what excites you about performing this story in an intimate regional theatre setting?

This job is a giant gift. For so many reasons. Not only did I do Les Mis with both Lauren Kennedy and her husband, Charlie Brady but I have a long history with artistic director, the great Eric Woodall. And our brilliant director, Jessica Boevers Bogart, has been a dear friend of mine for over 20 years. Jess is family to me. When she asked me to play this role back in the fall, I didn't know if it would work timing wise because of my family's schedule but thankfully, it worked out! To play Heidi Hansen with Jess at the helm feels like the security blanket, the safety net I craved to really investigate this piece of theatre, to take risks and to feel supported in doing so. I love feeling challenged by a role like Heidi. I am an actor who never wants to leave the rehearsal room. I constantly want to keep experimenting with playing the scene and trying new tactics. Spending months in preparation for Theatre Raleigh's production, getting to dissect this incredible script has been a privilege. I love Steven Levenson's script. The way he writes is so natural. So easy to learn. I haven't been this excited to sink my teeth into a role since playing Eliza Doolittle! I think the show will translate beautifully in a more intimate setting that Theatre Raleigh affords.

Heidi Hansen is a single mother doing her best under incredibly difficult circumstances — how do you approach finding the humanity and complexity in her choices?

I approach characters by finding our similarities to bring my own truth to the role. Raising three teenagers, I understand the "dance" of parenting—switching between being the fun mom, the working mom, the zany mom, the strict mom...sometimes all in one afternoon! Recently I told someone I was going to play this role and they said "oh, you're playing the mom who is a mess". I was so taken aback. Heidi is not a "mess"; she is a single mother doing her absolute best for her son. If Heidi is a mess, then most parents I know would consider themselves in the same boat.

Dear Evan Hansen deals with some very heavy themes around mental health and family — how do you personally prepare emotionally for a role like this eight times a week?

I know this show will be demanding, but having performed on Broadway for years, I intend to savor every moment of this short run. As I have grown older, I am interested in how my gifts as an artist can be of service. We are storytellers with a responsibility to bring these struggles regarding mental health, adolescence and parenting to life. I feel a profound responsibility to be at my best.

Your connection to the Carolina Philharmonic means you have a relationship with North Carolina audiences — how does it feel to now be bringing a full theatrical production to the Raleigh community?

I was just in North Carolina a few months ago singing with the Phil and it turns out both the music contractor for Theatre Raleigh and the guitar player for Dear Evan Hansen play in the Philharmonic! So if that is any indication of the level of talent that Lauren Kennedy and her team compiles, I know this experience will be top notch. I hope that the symphony audiences will come to Theatre Raleigh and experience the brilliance of Pasek and Paul's music. Maybe next time I'm in Pinehurst, I can sing one of these songs with Maestro Wolff and the Carolina Philharmonic! Wouldn't that be a dream?

The score of Dear Evan Hansen is quite demanding — what has your preparation process looked like for tackling Heidi's musical moments, particularly a song like "So Big/So Small"?

I have been singing this score nearly everyday for months. I'm that crazy lady, belting her face off & crying in my car, going on walks and singing to myself like my life depends upon it. I have coached this material with a few of my most brilliant actor friends. They have given me so much to think about as I have built this role. My sweet daughter, Bea and my husband, Chris have been running lines with me for weeks. They've been so supportive. I find that the more I know a text cold, the more spontaneous and playful I can be in rehearsal. When learning the music, I always start with the intention of the lyrics and how the song serves the story. So Big/So Small is a revelation, such a pivotal moment for Heidi - the song is so tender, so vulnerable, a proclamation of her unconditional love for Evan while simultaneously admitting her own shortcomings. The song is perfect. It sings itself.

What do you hope audiences, particularly parents, take away from watching Heidi's arc throughout the show?

My husband is a high school teacher and he always says…the more a teenager pushes you away, the more you need to push forward and stay in their business. It's so true! Chris and I do this in our parenting. We strive to stay in our kids' business (as annoying as that is to them sometimes), to ask the hard questions, to talk about subjects that make us feel uncomfortable. If anyone sees this show and is inspired to knock on their kids' closed door and open up a difficult conversation, then we will have succeeded in our storytelling.

Why must audiences come and see the show?

Dear Evan Hansen is modern musical theatre storytelling at its very best. The emotional depth this story takes you on is profound. Heartbreaking. Uncomfortable. Funny. Tragic. Beautiful. What more could you ask for from a night at the theatre?

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!

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.

HAMILTON To Host $10 #HAM4HAM Lottery for DPAC Engagement

Tue, 12 May 2026 21:09:37 PST

Producer Jeffrey Seller and Durham Performing Arts Center have announced a digital #HAM4HAM lottery for the upcoming Durham engagement of HAMILTON. A limited number of $10 tickets will be available for every performance during the production’s run from May 20 through June 14.

The first lottery is now open and will close at 12:00 p.m. on Thursday, May 14 for performances taking place May 20 through May 24. Additional lotteries will open every Friday at 10:00 a.m. and close the following Thursday at 12:00 p.m. for the next week’s performances.

Patrons can enter using the official HAMILTON app, available on iOS and Android devices. Winners will be notified between 1:00 p.m. and 3:00 p.m. each Thursday via email and mobile notification and will have two hours to claim and purchase tickets. Each winner may purchase up to two tickets.

Lottery tickets may be picked up at will call beginning two hours before the performance with a valid photo ID matching the entrant’s name. Organizers noted that tickets are non-transferable and void if resold.

About HAMILTON

Seen by more than 28 million people worldwide, HAMILTON tells the story of Founding Father Alexander Hamilton through a score blending hip-hop, jazz, R&B, and Broadway music styles. The musical features a book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire.

The production has won 11 Tony Awards, a Grammy Award, Olivier Awards, and the Pulitzer Prize for Drama. The musical is produced by Jeffrey Seller, Sander Jacobs, Jill Furman, and The Public Theater.

Review: BRIGHT STAR at Temple Theatre

Tue, 12 May 2026 22:43:35 PST

Inspired by the story of the Iron Mountain Baby, Bright Star follows literary editor Alice Murphy as she reconnects with her past after meeting a young World War II soldier with literary dreams. Set across North Carolina in the 1920s and 1940s, the musical explores love, loss, redemption, and the enduring pull of home. When I first saw Bright Star on Broadway a decade ago, North Carolina was mostly unfamiliar to me. Revisiting the show now, living in the Triangle and hearing references to Asheville, Raleigh, Durham, Zebulon, and Chapel Hill woven throughout the story, made the experience feel entirely different. It feels especially fitting that this Temple Theatre production is built largely from local North Carolina talent, from much of the cast to the onstage band bringing Steve Martin and Edie Brickell’s bluegrass-folk score to life.

The person I attended the show with, an NC native, especially connected with the community dance scenes, which reminded her of celebrations she grew up around. That sense of place and familiarity is all over this production. There is a warmth to it that feels distinctly Carolinian, not in a forced or overly performative way, but in a way that feels genuine. That authenticity is clearly understood by Director and Choreographer Galloway Stevens, himself a North Carolina native, whose staging leans into both the intimacy and communal spirit sitting at the heart of the story.

Stevens’ direction and choreography are thoughtful and emotionally grounded throughout, with several moments standing out visually. “I Can’t Wait” makes particularly effective use of lanterns, surrounding Alice in warm light before transforming into harsh spotlights as the adult men in her life begin imposing their expectations onto her. “Please Don’t Take Him” is another especially powerful sequence, staging Alice alongside the women of her family while the men physically overpower the space, creating an image that perfectly reinforces the emotional imbalance of the moment.

At the center of it all is Carrie Lyn Brandon as Alice Murphy, who commands the stage from the moment she appears. Her voice has a beautiful cadence perfectly suited for the score, effortlessly gliding between the folk storytelling and the more emotional ballads. Alice requires an enormous emotional range, shifting between a rebellious, spirited young woman and an older version weighed down by grief and regret, and Brandon captures every note of that journey. Her physicality is particularly striking. Every glance and posture change communicates exactly where Alice is emotionally, from lovestruck teenager to a woman haunted by the past.

Matthew J. Staley’s Jimmy Ray Dobbs matches Brandon well and brings a sincerity that makes the relationship believable throughout its many phases. While I occasionally wished he leaned a bit further into Jimmy Ray’s cockier playfulness edge early on, Staley is still thoroughly charming, particularly during the standout dance number “Whoa, Mama,” which had the audience visibly wanting to jump up and join the fun.

Andrew Goins and Allison Podlogar are incredibly endearing as Billy Cane and Margo Crawford. Their dynamic brings a sweetness and gentleness that balances some of the heavier emotional material elsewhere in the show. Goins’ towering height compared to the rest of the cast becomes a charming visual motif throughout, especially during moments in the bookstore where Podlogar’s Margo finds herself elevated on ladders just to meet him eye-to-eye.

There is also something particularly special about seeing Podlogar on Temple Theatre’s stage, having first performed there at just eight years old. Returning now for her first professional production gives her performance an added sense of homecoming that feels perfectly aligned with the themes of the show itself.

A major highlight of the evening was Stephen Chambers as Daryl Ames. Chambers has an incredible command of physical comedy and consistently drew some of the biggest laughs. His chemistry with Laura Pearson’s Lucy is fantastic, making them feel like longtime partners in crime. Together they lead “Another Round,” one of the show’s most entertaining numbers and another huge crowd-pleaser.

The incorporation of the live band onstage adds so much energy to the production. Their presence never fades into the background. Instead, they become part of the heartbeat of the show itself. It was also wonderful seeing several musicians pull double-duty as townsfolk, further reinforcing the sense of community woven into the production. Under Musical Director Gavan Pamer, the music sounded excellent, with the ensemble and band staying beautifully locked together.

The production design overall works beautifully within Temple Theatre’s historic former vaudeville house. The scenic design utilizes a simple frame structure that fluidly transforms between homes, bookstores, and mountain locales, all set against the backdrop of the Blue Ridge Mountains. David Castaneda’s lighting design is especially striking against those mountains, shifting colors to reflect the emotional tone of each scene. The deep reds closing out Act One are particularly haunting and beautiful.

More than anything, it is clear how much care has gone into this production. Under Producing Artistic Director Peggy Taphorn, Temple Theatre has crafted something heartfelt, polished, and deeply connected to the community around it. By the end of the night, the audience was on its feet, and deservedly so. Temple Theatre is a bright star in Sanford, and productions like this make it easy to see why.

Review: THE GREAT GATSBY National Tour at Durham Performing Arts Center

Wed, 06 May 2026 10:43:56 PST

Based on F. Scott Fitzgerald’s classic 1925 novel of the same name. The Great Gatsby is set on Long Island, near New York City during the Jazz Age. The story centers on mysterious millionaire Jay Gatsby and his obsession to reunite with his former lover Daisy Buchanan. This was one of two musical adaptations to have premiered within the past couple of years. The other being Gatsby: An American Myth, which debuted in Boston in 2024.

Since the novel entered the public domain on January 1st, 2021, it’s already become a commonly adapted story. For those unfamiliar, the public domain has all the creative work where no exclusive intellectual property rights apply. When they eventually expire (which here in the U.S. is 95 years after it was originally produced or published), anyone can use it without having to gain permission nor pay a fee. It’s how we’ve gotten countless iterations of A Christmas Carol and all of Shakespeare’s plays.

After having its world premiere at Paper Mill Playhouse, this musical version of The Great Gatsby opened on April 25th, 2024 at the Broadway Theatre on Broadway. Despite mixed critical reviews and getting nearly shut out of the Tonys (only receiving one nomination and win for costume design), it’s still running two years later. Helped in no small part by celebrities joining the cast for limited runs such as Ryan McCarten, Sarah Hyland, and now Corbin Bleu.

I actually did read the novel during my senior year of high school… and I really didn’t get it. I know I’m not alone in that as most teenagers tend to find The Great Gatsby dull, slow, and difficult to relate to. Shortly thereafter, I did catch up with two of the five film adaptations. The 1974 version directed by Jack Clayton written by Francis Ford Coppola starring Robert Redford and the 2013 version directed by Baz Luhrmann starring Leonardo DiCaprio. Neither of them managed to win me over.

Under Marc Bruni’s direction, he most certainly pulls off such a lavish production. There’s especially a lot to like about Paul Tate DePoo III’s visuals. His physical sets are quite elaborate while his projections are so dazzling to behold. There’s elegant lighting work courtesy of Cory Pattak. Linda Cho, who just received two Tony nominations this year for her work on Ragtime and Schmigadoon!, pulls off some very attractive costumes. The choreography by Dominique Kelley has quite a bit of style, including an impressive tap number in Act II.

Several of the performances deliver the goods. Whatever problems some may have with the title character (more on that later), Jake David Smith proves to be quite charismatic as Jay Gatsby. He shares compelling onstage chemistry with Senzel Ahmady as Daisy Buchanan. The latter of whom is very good in the role with such an impressive set of vocal pipes. Joshua Grosso, who I previously spoke with for BroadwayWorld in 2018 as he was making his way to DPAC as Marius in the Les Miz tour, does a pretty humble job as Daisy’s cousin and Gatsby’s neighbor, Nick Carraway. Leanne Robinson as Daisy’s friend, Jordan Baker, a vivacious and independent young woman, really blows the roof off with not just her voice, but also her sense of humor. Will Branner is excellent as Daisy’s husband and Nick’s old Yale college acquaintance, Tom Buchanan. Lila Coogan, who was last seen on the DPAC stage as the title character in Anastasia in 2019, proves to be quite a burst of energy as Tom’s mistress, Myrtle Wilson.

The score is by Jason Howland and Nathan Tysen. The former in particular has worked as a music supervisor on fan favorite shows such as Beautiful: The Carole King Musical and Shucked. He’s also composed the scores for a couple of musicals such as Paradise Square (with Tysen) and Little Women (with Mindi Dickstein). The latter of which I do find to be pretty underrated. Their work here successfully feels evocative of the 1920s. There’s a couple of power ballads such as the Act I finale, ‘My Green Light,’ and Gatsby’s big solo number in Act II, ‘Past Is Catching Up to Me.’ While they are pleasing to the ears, they also don’t match the musical tone with the rest of the score.

Time for the biggest question of all, how do I feel about this story now? While it most certainly has moments of comic relief and emotional catharsis, I still struggle to relate to the whole thing. It especially doesn’t help that several of the characters, including Gatsby himself, come off as rather unlikable. I’m not opposed to unlikable characters, just as long they at least feel sympathetic. Whether these particular characters have sympathy or not, they still prove to be too difficult to care for. Not to mention that for a musical, this appears to lack an active protagonist, a similar criticism I had with The Outsiders. It especially doesn't help that Gatsby doesn't show up until about 20 minutes in.

The novel has notoriously been considered a challenge to adapt to other mediums. Neither of its five movie versions were necessarily well regarded, with many feeling that the filmmakers struggle balancing out the "glitz and glamour" of the parties with the harsh, cynical critique of the 1920s. It’s also worth noting that in the novel, it’s all told through Nick’s introspective voice, which encourages an individual imagination for the reader. Easy to see how that makes it hard to translate as well as how the story is probably better left as a novel.

Although if I were giving notes to book writer Kait Kerrigan during the development process, this is what I’d suggest. Take a page out of Andrew Lloyd Webber’s Evita and Sunset Boulevard. Mainly in how both musicals start at the very end, create intrigue for the audience regarding what happened, and have a singular narrator (which in this case, would be Nick) take the story back to the beginning. To me, that would’ve made for a more fascinating way in for this musical. Fans of the source material may not be entirely on board with that approach, but the novel will always be around. It’s not like the creative team would be erasing it from existence or anything like that at all.

Overall, there are aspects to like about The Great Gatsby. The spectacle of it all certainly makes me wish I could travel to the 1920s for the culture, clothing, and music. The performances certainly keep things afloat no matter how unlikable most of their characters are. I'm honestly not surprised by the mixed reception this received in New York upon opening. I will say that I did enjoy this more than what I remember of the novel. At best, I would give this a mild recommendation. I just wish I connected to the story more.

This national tour is currently playing at DPAC through May 10th. For more information, please click here.

DR. DOG and PRESERVATION HALL JAZZ BAND to Headline AVL Sounds Fest

Mon, 04 May 2026 21:22:17 PST

AVL Sounds Fest, presented by Wicked Weed Brewing and Worthwhile Sounds, today announced the initial lineup of more than 150 acts who will perform Aug. 6–9. Dr. Dog and Preservation Hall Jazz Band top the bill for the four-day festival, which will present sets in more than 15 indoor and outdoor venues spread out across one of the country's most celebrated live music meccas. Tickets are now on sale.

Other highlights include UK-based soft rock ensemble Young Gun Silver Fox, Tyler Ramsey and Carl Broemel (of My Morning Jacket), and local favorites Electrolust, Toubab Krewe, Amanda Anne Platt & the Honeycutters, The Hypos, and Floating Action. View the full lineup at www.avlsoundsfest.com.

A second wave of more than 75 artists will be announced later this month.

“We're thrilled about this first wave of artists and feel strongly that our initial headliners align perfectly with the vision and scope of AVL Sounds Fest,” said Jeff Whitworth, president, Worthwhile Sounds. “Dr. Dog has long been a local favorite since their Grey Eagle days nearly 20 years ago. The fact that some of the members now live here is a reflection of the artistic and creative appeal Asheville offers.”

The festival co-founder continues, “It's also our distinct honor to present the legendary Preservation Hall Jazz Band. The throughlines between New Orleans and Asheville became especially strong in the aftermaths of Katrina and Helene, as our communities looked to each other for guidance and comfort during difficult times. Having Pres Hall bring their positive energy and spirit to this festival means the world to me, personally, and I believe will also resonate deeply with festivalgoers.”

Landmark venues like The Grey Eagle, Orange Peel, Asheville Music Hall, Eulogy, Fleetwood's, and French Broad River Brewery return to the fold alongside newcomers Asheville Yards, Hellbender, Revival, and The Mule.

AVL Sounds Fest will honor Western North Carolina's rich musical heritage with an emphasis on the city's creativity and the artists who make it so magnetic. Formerly known as AVL Fest — which celebrated the sound, spirit, and soul of Asheville's musical home in 2023 and 2024 — the event will showcase genre-spanning local, national, and international acts variety of stages, clubs, rooms, and genre-crossing lineups that earned AVLfest national attention in 2023 and 2024 before Hurricane Helene sidelined the event in 2025.

While on pause, the spirit of the festival and Asheville's deep-rooted musical tradition carried on through The Asheville Sessions: Celebrating 100 Years of Americana & Appalachia in November in partnership with Blue Ridge Music Center and Explore Asheville. The centennial event helped create an opportunity for artists, venues, and the community to reconnect and celebrate the sound that has defined the area for over one hundred years. AVL Sounds Fest will launch annual programming dedicated to the Asheville Sessions, featuring contemporary artists' interpretations of these historic recordings.

A portion of proceeds from the event will be donated to WNC Long Haul - Recovery and Resilience Fund (a donor-advised fund through the Community Foundation of WNC), providing resources post-Hurricane Helene. WNC Long Haul is committed to continued support in Culture & Arts, Local Business, and Long-Term Support for individuals impacted or displaced from the storm. The fund was set up to meet the evolving needs of the community at critical junctions at each phase of recovery.

For more information, visit www.avlsoundsfest.com.

LOVE/SICK by John Cariani To Be Presented By Splintered Stage

Sat, 02 May 2026 12:28:06 PST

Splintered Stage has announced it's production of LOVE/SICK, a dark comedy one-act play cycle written by John Cariani (Something Rotten, The Band's Visit, Almost, Maine).

The production is directed by Wilmington theater director Chandler Davis and is produced by Wilmington scenic designer / technical director Benedict R. Fancy.

'LOVE/SICK' is a collection of slightly twisted, humorous short plays that explore the pain and joy of love. Full of imperfect lovers and dreamers, this unromantic dark comedy is for the romantic in everyone.

This performance will run July 30 - August 2 in the Erin E. McNeill Fine Arts Center on the campus of Cape Fear Academy which is located at 3900 S. College Road, Wilmington NC 28412. Tickets can be reserved on the Splintered Stage website.

OPERATION MINCEMEAT Reveals 2026-27 Tour Dates and Cities

Thu, 30 Apr 2026 09:12:44 PST

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

Read the reviews for the Broadway run here.

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

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

Operation Mincemeat Tour Dates:

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

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

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

Toronto, ON – Theatre TBD
October–December 2026

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

About Operation Mincemeat

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

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

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

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

RAGTIME Will Launch National Tour in Fall 2027

Wed, 29 Apr 2026 16:00:22 PST

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

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

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

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

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

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

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

Wed, 29 Apr 2026 11:23:47 PST

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

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

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

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

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

Tour Dates

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tue, 28 Apr 2026 17:37:27 PST

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

Carmen

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

Turandot

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

Orfeo & Euridice

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

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

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

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