BroadwayWorld.com Phoenix Stories

RAPUNZEL Will Come to the Great Arizona Puppet Theater

Thu, 11 Jun 2026 05:06:27 PST

RAPUNZEL will come to the Great Arizona Puppet Theater this summer. Performances will run June 25 - July 12. A beautiful version of the classic tale about the maiden with really long hair and the prince who loves her. In this unique show, puppets and scenery appear from an antique trunk as the story unfolds.

Summer showtimes are Thursdays and Fridays at 10am, Saturdays at 10am, Sundays at 11am.**

Advance ticket purchase is required. $15 for adults (ages 13+), $10 for children (ages 0-12 yrs). Call 602-262-2050, ext. 0 to pay or purchase online.

The Great Arizona Puppet Theater is located at 302 W. Latham St. in Phoenix.

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.

COFFEE MIXED WITH CREAM to Open at Fountain Hills Theater

Mon, 08 Jun 2026 05:12:15 PST

Fountain Hills Theater has announced the play Coffee Mixed With Cream. Coffee Mixed With Cream will play August 21 – Aug 30, 2026. Fridays and Saturdays at 7:30pm and Sundays at 2pm. All performances take place at Fountain Hills Theater, 11445 N Saguaro Blvd, Fountain Hills, AZ 85268.

Daniel struggles with the pressure of opening a new play. When everyone in his life tries to help, it makes it even more stressful. After the show becomes a hit, he has to deal with the ramifications… Coffee Mixed With Cream explores identity, biracial relationships, and struggling to accept love from the ones you hold dear. This marks the world premiere of this play by local playwright Elias Matthews.

Auditions will be held Thursday, July 2nd and Friday, July 3rd at 6:00pm. Callbacks (if required) will be held Tuesday, July 7th at 7:00pm. Casting roles for ages 18+. Visit fhtaz.org to sign up and for full details. You can also submit a video audition. Call 480-837-9661 x3 for questions or additional information. Auditions take place at Fountain Hills Theater, 11445 N. Saguaro Blvd. Fountain Hills AZ 85268.

Auditioners should complete the digital audition form available at the FHT website fhtaz.org and bring a headshot and resume, if not already submitted via the website audition link. Auditioners are asked to prepare a 1- to 2-minute previously published monologue.

Early video auditions - which must be submitted prior to July 3 – may be submitted via the link on the FHT website and can substitute for appearing at the regular auditions. The video should include a 1-2 minute monologue. The video should be uploaded with a headshot and resume (if available). However, if chosen from a video audition, candidates will be required to appear in person at the callbacks.

FHT seeks to include persons of every race, color, culture, age, gender, creed, physical disability, and sexual orientation. Character ages are not set in stone and all roles are open to all ethnicities unless otherwise stated. Actors should consider roles if they feel they can represent the characters and age range listed.

CASTING FOR:

DANIEL - Mixed White-Presenting (Black/White), 20s. Confused, blind, and desperate.
DANIEL can also be played by a tan-white or light skin black actor.
ANDREA - White, 20s. Supportive, scared, and hopeful. Daniel's girlfriend.
GRACE - White, Late 30s-40s. Loving, funny, and confident. Daniel's mother.
TARIQ - Black, Late 30s-40s. Funny, scared, and trying. Daniel's father.
ROSE - White, 30s-60s. Kind, desperate, and honest.
KAYLA – Person of Color, 30s-40s. Headstrong, divisive, and accurate.

“Coffee Mixed with Cream” is presented through special arrangement with Elias Matthews

ANNIE to Open TheaterWorks' 2026-2027 MainStage Season in Peoria

Fri, 05 Jun 2026 05:14:23 PST

TheaterWorks has announced its upcoming production of the iconic Broadway musical Annie, opening the company's exciting 2026-2027 MainStage Season. The family favorite will run July 10-26, 2026, at the Peoria Center for the Performing Arts, located at 10580 N. 83rd Drive in Peoria.

"Annie is truly a timeless story for every generation," said TheaterWorks Director of Patron Experience Paul Pedersen. "We're thrilled to kick off our new MainStage season with such an iconic musical. Whether you're eight years old or eighty-eight years old, there's something magical about this story that speaks to everyone. It's filled with humor, heart, optimism, and some of the most recognizable songs ever written for the stage."

Leading the production is Valley director and choreographer Molly Lajoie, a graduate of the University of Notre Dame and AMDA New York. Lajoie has worked extensively throughout the Phoenix metropolitan area as a director, choreographer, and performer. She currently serves as a Faculty Associate in Arizona State University's Music Theatre and Opera Program and is the Director of The Phoenix Theatre Company's Summer of Dance.

"The musical Annie was a huge part of my life as a child," said Lajoie. "From the moment I would put the record on and hear the trumpet play the first notes of the overture, I was transported. It has remained one of my favorite shows, and I have been waiting for the time I would finally get to work on it! I could not be more excited to immerse myself, my actors, and an audience in this beautiful story!"

Music direction for the production is provided by TheaterWorks Resident Music Director Lincoln Wright.

The title role of Annie will be played by Azra Kearns, who TheaterWorks audiences may remember from her standout performance as Matilda in the company's 2022 production of Matilda. Joining her is Shani Barrett as the delightfully wicked Miss Hannigan. Barrett returns to TheaterWorks for the first time since appearing as Diana Morales in the company's 2018 production of A Chorus Line.

The talented cast also features Scott Hyder as Oliver Warbucks, Lynn D'Ambrosi as Grace Farrell, Vinny Chavez as Rooster, Savoy Antoinette as Lily St. Regis, and Everly McClurg as Molly.

The production features a multi-generational cast of 44 performers, including 17 young actresses portraying Annie's fellow orphans, creating a vibrant and energetic ensemble that showcases talent from across the Valley.

One of the production's most anticipated stars, however, may be its four-legged cast member.

For the role of Sandy, TheaterWorks has cast Bailey, an eight-year-old Golden Retriever from Sun City West. While this marks Bailey's theatrical stage debut, he is already well-known throughout the Northwest Valley as "Bailey the Book Dog." Alongside his owners, Wendy and Sid, Bailey regularly volunteers at two local hospitals and three branches of the Surprise Public Library, where he helps encourage young readers through literacy programs. Bailey is also featured in the production's primary promotional photography alongside Kearns and Barrett.

Featuring beloved songs such as "Tomorrow," "Maybe," and "It's the Hard Knock Life," Annie tells the story of a determined young orphan whose optimism changes the lives of everyone she meets. Its themes of hope, perseverance, and family have made it a cherished favorite for generations of theatergoers.

THE ROCKY HORROR SHOW, THE CURIOUS INCIDENT to Highlight University of Arizona TFTV Season

Thu, 04 Jun 2026 22:44:12 PST

The University of Arizona School of Theatre, Film & Television has announced its 2026/27 performance season, featuring the cult phenomenon The Rocky Horror Show, original student-created works in the New Directions Festival, the acclaimed drama Stop Kiss and the Tony Award-winning adaptation of The Curious Incident of the Dog in the Night-Time.

The season showcases students in TFTV's Theatre Studies and Live and Screened Performance programs, where emerging artists develop skills for careers across stage, screen, and new media.

“This season reflects the core of our mission: to center student creativity while engaging Southern Arizona audiences with work that is imaginative, challenging, and deeply empathetic,” said TFTV's Associate Director Christie Kerr, who serves as the season's Artistic Director.

TFTV's performance season provides students with hands-on experience bringing productions from page to stage, while the New Directions Festival spotlights the next generation of theatrical storytellers through original works created entirely by students. From concept and script development to performance and design, students take the lead in every aspect of the creative process.

In addition to providing outstanding educational experiences, the season invites Southern Arizona audiences to engage with a wide variety of theatrical voices and perspectives. Special programming throughout the year includes post-show discussions with artists, ASL-interpreted performances, and a sensory-friendly performance designed to make the theatre more accessible and welcoming for all audience members.

TFTV extends special thanks to 2026–2027 performance season underwriter Gregory Knopf for his generous support of student artists and the School's mission to cultivate the next generation of creative professionals.

Subscription packages for TFTV's 2026/27 theatre season are now on sale at newly reduced prices. Individual tickets will be available beginning Aug. 25. More information is available at theatre.arizona.edu.

TFTV 2026/27 Performance Season

The Rocky Horror Show

Book, music, and lyrics by Richard O'Brien

October 11 - 25

Marroney Theatre

The cult-classic rock musical where innocence collides with a glitter-soaked world - and nothing is ever the same.

Previews: October 11, 15
Performances: October 16, 17, 18, 23, 24, 25
Special Performances: Post-Show Discussion October 23, ASL Interpreters October 24 (7:30p)

RICHARD O'BRIEN'S THE ROCKY HORROR SHOW is presented by arrangement with Concord Theatricals. www.concordtheatricals.com

Stop Kiss

By Diana Son

November 15 - December 6

Tornabene Theatre

A powerful, non-linear journey through the beauty of unexpected love and the resilience required when that love is met with violence. It's a haunting yet hopeful look at how one moment in New York City can change two lives forever.

Previews: November 15, 19

Performances: November 20, 21, 22 & December 4, 5, 6

Special Performances: Post-Show Discussion December 4, ASL Interpreters December 5 (7:30p)

STOP KISS is presented by arrangement with Concord Theatricals on behalf of Dramatists Play Service. www.concordtheatricals.com

New Directions Festival

A showcase of new works

February 21 – March 7

Tornabene Theatre

An evening of bold, student-written new works showcasing the next generation of theatrical voices.

Previews: February 21, 25
Performances: February 26, 27, 28 & March 5, 6, 7
Special Performances: Post- Show Discussion March 5, ASL Interpreters March 6 (7:30p)

The Curious Incident of the Dog in the Night-Time

Based on a novel by Mark Haddon, adapted by Simon Stephens

April 18 - May 2

Marroney Theatre

Against his father's warning, a brilliant, neurodivergent young man investigates the death of a neighbor's dog, uncovering truths that transform his understanding of himself and his world.

Previews: April 18, 22
Performances: April 23, 24, 25, 30 & May 1, 2
Special Performances: Post-Show Discussion April 30, Sensory-Friendly* May 1 (1:30p), ASL Interpreters May 1 (7:30p)

*A sensory-friendly performance provides a welcoming and supportive environment for people with sensory processing challenges to enjoy live theatre with their friends and family. These performances are presented in a relaxed way with lower sound levels and reduced lighting effects, among other things, to ensure a comfortable environment. Tickets for the sensory-friendly performance will be $15.

THE ROCKY HORROR SHOW, THE CURIOUS INCIDENT to Highlight University of Arizona TFTV Season

Thu, 04 Jun 2026 22:44:12 PST

The season showcases students in TFTV's Theatre Studies and Live and Screened Performance programs, where emerging artists develop skills for careers across stage, screen, and new media.

TFTV 2026/27 Performance Season

The Rocky Horror Show

Book, music, and lyrics by Richard O'Brien

October 11 - 25

Marroney Theatre

The cult-classic rock musical where innocence collides with a glitter-soaked world - and nothing is ever the same.

Previews: October 11, 15
Performances: October 16, 17, 18, 23, 24, 25
Special Performances: Post-Show Discussion October 23, ASL Interpreters October 24 (7:30p)

RICHARD O'BRIEN'S THE ROCKY HORROR SHOW is presented by arrangement with Concord Theatricals. www.concordtheatricals.com

Stop Kiss

By Diana Son

November 15 - December 6

Tornabene Theatre

Previews: November 15, 19

Performances: November 20, 21, 22 & December 4, 5, 6

Special Performances: Post-Show Discussion December 4, ASL Interpreters December 5 (7:30p)

STOP KISS is presented by arrangement with Concord Theatricals on behalf of Dramatists Play Service. www.concordtheatricals.com

New Directions Festival

A showcase of new works

February 21 – March 7

Tornabene Theatre

An evening of bold, student-written new works showcasing the next generation of theatrical voices.

Previews: February 21, 25
Performances: February 26, 27, 28 & March 5, 6, 7
Special Performances: Post- Show Discussion March 5, ASL Interpreters March 6 (7:30p)

The Curious Incident of the Dog in the Night-Time

Based on a novel by Mark Haddon, adapted by Simon Stephens

April 18 - May 2

Marroney Theatre

Against his father's warning, a brilliant, neurodivergent young man investigates the death of a neighbor's dog, uncovering truths that transform his understanding of himself and his world.

Previews: April 18, 22
Performances: April 23, 24, 25, 30 & May 1, 2
Special Performances: Post-Show Discussion April 30, Sensory-Friendly* May 1 (1:30p), ASL Interpreters May 1 (7:30p)

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.

Scottsdale Arts to Accept Applications for 2026 Community Arts Grant Program

Wed, 03 Jun 2026 05:10:12 PST

Scottsdale Arts is accepting applications for the Community Arts Grant Program, which provides funding to nonprofit arts and cultural organizations in Scottsdale and throughout the Valley for projects that serve the Scottsdale community.

In 2025, 23 different organizations received $150,000 for general operating support and projects during the 2025–26 fiscal year.

Applicants may submit grant requests for activities that will take place between September 1, 2026, and July 31, 2027. The deadline is Monday, July 27, 2026, at 11:59 p.m. MST (AZ). An all-volunteer committee of arts, community and business leaders will review the applications and make recommendations for funding to the Scottsdale Arts Board of Trustees.

All applicants must be 501(c)(3) nonprofit arts or cultural organizations that provide programs or activities within Scottsdale or for Scottsdale residents. Applicants must have a three-year history of programming prior to the application deadline.

The application process will open online, via Submittable, on Monday, June 15, 2026, at 10 a.m. Information, guidelines and the application link are available at ScottsdaleArts.org/about/community-arts-grant-program.

Scottsdale Arts to Accept Applications for 2026 Community Arts Grant Program

Wed, 03 Jun 2026 05:10:12 PST

In 2025, 23 different organizations received $150,000 for general operating support and projects during the 2025–26 fiscal year.

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)

Review: PLAGUE PLAY at Valley Players

Tue, 02 Jun 2026 16:17:25 PST

PLAGUE PLAY is an examination of violence, how it is justified, and if that justification is truly valid. This modern language presentation of the plagues of Egypt gives audiences a chance to see Moses and Aaron on a more human level. Valley Players’ production is a somber yet comedic look into Moses and his family.

The play begins shortly after Moses, played by Kang Lee, arrives in Goshen with his Midianite wife Tzipporah, played by Mantra Rostami. Moses has had visions of his brother Aaron, played by Rory Williams, unleashing ten plagues on Egypt from his body. These plagues were sent by God to force the Pharaoh, Moses’ adoptive brother Rameses, to free the Hebrew people. The first plague, the waters of Egypt, are turned into blood by Aaron, and the characters quickly discover they and Goshen are safe from the plagues. As the plagues are continuously unleashed and more people die, the characters are forced to grapple with the violence forced upon them by divinity.

Although this play is about the plagues, the real substance of it lies within its characters, their dynamics, and emotions. Although violence is a major theme, family is at the center of PLAGUE PLAY. When Moses travels to Goshen, he is reunited with Aaron and Aaron’s twin sister, Miriam, played by Catarina Cisneros. Lee does a great job portraying Moses. The way he plays Moses’ insecurity and longing for peace and belonging are excellent ways to approach Moses’ story for a modern audience. Williams, as Aaron, was an excellent portrayal of the horror of the situation. The moments where he is fearful and defeated felt raw and real; his performance was very moving.

The relationship between Miriam and Tzipporah is another beautiful part of the play. Cisneros and Rostami did an amazing job portraying sisterhood between women. Cisneros’ performance as Miriam was strong; Miriam is afraid, but she is often the rock of her family, and Cisneros’ acting matched that strength well. Rostami’s performance as Tzipporah was very well-done. Tzipporah is sweet, caring, and emotionally intelligent, and Rostami captured those traits of her excellently in the performance. Noah Delgado did an amazing job directing and making the four actors feel like a family unit.

The presentation and writing of this play by Erin Proctor make it special. Biblical stories are ancient and grand; it is easy to focus on the spectacle and the destructive aspects of plagues rather than the emotions of Moses and Aaron when considering the original text. This version of the story gives audiences a completely new way to view the story. These are not ancient biblical characters here; they are people going through an incredibly tragic event. The use of modern language aids the story. By speaking in a way that reflects contemporary language, the actors help connect the audience to the characters.

The production design amplifies this message. The set is fairly simplistic but uses colors and set dressing to represent Goshen. The lighting design and its use of colors in peak emotional moments helped further amplify the acting.

Although PLAUGE PLAY is a drama, there was a lot of great comedy in the performance. The comedy is clever and self-aware; it left the audience in stitches several times throughout the performance. The mix of drama with strategic comedy made the pacing of the show perfect and served as a reminder that joy can be found in the worst of times.

Valley Players’ production of PLAGUE PLAY is a fresh and relevant take on an ancient story. Through its multifaceted characters, engaging commentary, and invigorating performances, this play resonates with audiences and helps them consider the horrors of the Egyptian plagues in an entirely new light.

PLAUGE PLAY runs through June 6th at Spark! Performing Arts in Mesa, AZ

Valley Players -- https://www.valleyplayersaz.com

Venue: Spark! Performing Arts -- https://spark-arts.org -- 5540 E Main St, Mesa, AZ 85205

Photo Credit to KJ Herb – https://kjherb.com -- Left to right: Rory Williams, Mantra Rostami, Kang Lee

Musical Instrument Museum To Host Esteban For United States 250th Anniversary

Sun, 31 May 2026 13:12:56 PST

Join legendary guitarist Esteban for a special summer concert during the 250th Anniversary of the United States at the Musical Instrument Museum (MIM).

“I’m honored to celebrate our country’s beautiful blend of cultures, passion and spirit during America250 in the way I know best … through music,” says Esteban. “I invite you to join my band and me for an unforgettable evening where the soul of America meets the fire and passion of flamenco.”

Guests will enjoy a powerful mix of classical Spanish fusion with a contemporary rock influence as Esteban plays with his full band, including renowned violinist and daughter Teresa Joy. From fiery flamenco rhythms to heartfelt melodies, this is more than a concert. It’s an experience.

The MIM helps guests access the music of the world through its galleries, educational offerings, and engaging programming.

Esteban became a Valley favorite in 1991 at the Grand Hyatt at Gainey Ranch in Scottsdale, where the charismatic musician first riveted audiences with his masterful and emotionally moving guitar playing. Esteban and Teresa Joy won “Best of Phoenix” for eight years. The world-renowned artist has topped Billboard charts, appeared in a GEICO Super Bowl commercial and sold more than 1 million guitars through QVC and HSN. His inspiring story and musical achievements have been featured in People Magazine, on the front page of The Wall Street Journal, and across national television.

The performance will take place on Sunday, July 5th at 7 p.m., at the Musical Instrument Museum (MIM), 4725 E. Mayo Boulevard, in Phoenix. Tickets can be purchaed at Esteban's website. Prices start at $54.50.

Scottsdale Philharmonic To Expand Concert Programming Throughout The Year

Sat, 30 May 2026 19:28:51 PST

While many arts organizations in the Valley take a break for the summer, the Scottsdale Philharmonic is adding concerts. Joy Patrdige, executive director of the Scottsdale Philharmonic, has announced that they will be increasing the number of concerts by adding a two concert Summer Series in July and August.

“With these additions, we will now be the only classical music symphony to provide 14 to 16 concerts year-round." Partridge states. “Our new Summer Series Program includes a pops concert (Star Wars Saga and more) on Sunday, July 26 and a full concert with chorale on Sunday, Aug. 30, both at 4 p.m.,” Partridge adds.

“As your Valleywide Symphony, we are proud to offer free live streaming for those who can’t attend in person, affordable ticket prices, free tickets to students and veterans, scholarships programs and easy parking,” Partridge states.

“Our ability to share beautiful music relies entirely on the generosity of individual donors and corporate sponsors,” explains Partridge. “Since ticket sales cover only a portion of concert costs, we need the unwavering support and dedication of our donors. If you’re passionate about classical music, please visit our website to donate and join our growing community of supporters.”

All concerts for the 2026-27 Season will be held at La Casa de Cristo Lutheran Church, 6300 E. Bell Rd., in Scottsdale, from 4-6 p.m. on Sundays and 7-9 p.m. for Thursday performances.

Individual concert tickets range from $20 to $35 and can be purchased online at the Scottsdale Philharmonic website.

Review: PEPPERMINT BEEHIVE at Space55

Sat, 30 May 2026 16:07:25 PST

PEPPERMINT BEEHIVE is a comedic and edgy look into Queer love and real-life struggles that many Phoenix locals are struggling with. Based on the real gentrification of Phoenix’s Roosevelt Row and using puppets, Space55’s play presents a punchy and bold statement about the corporate state of the world.

Rikki Richman (Sarafina Starling) is a Phoenix resident, getting by through her joyless work at her job. She struggles with exaggerated versions of real problems, like the messy dating pool, unresponsive and uncaring landlords, and money-hungry bosses. Her story is relatable. Her life is given new excitement when she meets Jamie Dayglo (Ashley Belle Vasquez). Jamie is confident, bold, and unwilling to participate in a capitalist society. The pair hit it off quickly, and Jamie introduces Rikki to the world of Roosevelt Row. Despite the griminess of the place, Rikki quickly takes to the artistic atmosphere and unique characters there as she and Jamie fall in love. Unfortunately for the pair, Rikki’s bosses, Angela (Madeleine Miller) and Angelo Ampersand (Logan Watters), have plans to corrupt Roosevelt Row with their urban beautification and money-making schemes.

Although this play is set in Phoenix, it is set in a reality where there are puppets that are sentient beings and often the victims of gentrification and profiling. There is a pair of cop characters, Dudley Karlson and puppet Kettle T. Boyles, both played by Rick Larsen, who are both staunchly prejudiced against puppets. There are a ton of other fun puppets throughout the show, like Rikki’s AI banana companion, played by puppeteer Tommy Cannon, and Rikki’s sock puppet coworker, played by puppeteer Angela Gonzalez. The creations and designs from puppet designer Amy Carpenter do a great job of amping up the outlandish elements of the world of the play. The designs also set up several very comedic physical gags that had the whole room filled with laughter.

The play’s writer, Ashley Naftule, put great effort into portraying the numerous perspectives of people harmed by gentrification. From small business owners, like bartender Shirley Phantom (Marcella Grassa), to long-time locals, like Jamie, and unhoused people, there is care put into what impact this has on them, and time given to each of their perspectives. This work makes the play particularly moving for its audience of Arizonians.

The performances in the show were a lot of fun. Madeleine Miller and Logan Watters, as Angela and Angelo, pulled off the annoying, casually corporate young bosses perfectly. From their accents to their overall demeanor, their characters were easy to hate in the best and funniest way. Sarafina Starling gave a fun and quirky performance as Rikki. Ashley Belle Vasquez as Jamie was a nice balance of deadpan and strength to the unsure and slightly awkward parts of Rikki as she navigates her place in the world. The play, with its heavy topics, can be quite grim at certain points, but the humor and strength of the characters help to give an undertone of hope. The queer love story between the pair was a refreshing portrayal of romance between women. The pair is functional, and most of their problems are external. There is commentary about gender norms and them being together, but it is nice to see a queer couple on stage without the conflict of their relationship entirely focusing on it being hard because they are gay.

Mixed in with absurd and raunchy jokes, PEPPERMINT BEEHIVE makes an overtly clear statement on the community's gentrification harms. Space55’s production is the perfect watch for anyone who is exhausted from the corporate world and upset with the world around them. Between the clear messaging and amusing puppets, this piece of theatre is truly unique.

PEPPERMINT BEEHIVE plays at Metropolitan Arts Institute through May 31st.

Space55-- https://www.space55.org -- Venue: Metropolitan Arts Institute -- 1700 N. 7th Ave, Phoenix, 85007

Photo Credit to Kristy Velesko: Left to right: Ashley Belle Vasquez, Marcella Grassa, Sarafina Starling

I LOVE YOU, YOU'RE PERFECT, NOW CHANGE to Open at Theatrikos Theatre Company

Thu, 28 May 2026 05:12:57 PST

Theatrikos Theatre Company will present the musical comedy, I Love You, You're Perfect, Now Change. With book and lyrics by Joe DiPietro and music by Jimmy Roberts, this hilarious and heartwarming revue will run for four weeks, from July 2 to July 26, 2026.

The musical, Co-Directed by Delano Hays and Dani Commanda, takes a hilarious look at everything you have ever secretly thought about dating, romance, marriage, lovers, husbands, wives, and in-laws, but were afraid to admit. Through a series of fast-paced vignettes and catchy musical numbers, a versatile ensemble of actors charts the contemporary landscape of the human heart. From the awkwardness of a first date and the triumphs and trials of marriage, to the enduring romance of the twilight years, I Love You, You're Perfect, Now Change pays a witty, joyful tribute to those who have loved and lost, and those who dare to stumble into romance.

“I Love You, You're Perfect, Now Change is a beautiful show that explores the nature of relationships from the dating phase all the way until you're old and gray.” Says Co-Director Dani Commanda. “We love that it's done in a vignette style with 4 actors playing over 40 roles, bringing unique energy to each scene. The four actors that we have cast are such amazing and strong performers and they each get a chance to shine every time they step on the stage. We are so excited to be bringing this show to Flagstaff and cannot wait for you to come and see it!”

This production features a dynamic, fast-paced staging and a book that demands sharp comedic timing and genuine emotional truth from its ensemble. With its memorable songs and relatable situations, the show is a crowd-pleasing exploration of connection, companionship, and the enduring resilience of love.

“I Love You, You're Perfect, Now Change is exactly the kind of joyful, communal theatre experience we need right now. In a world that often feels complicated, this musical meets audiences exactly where they are; with laughter, honesty, and a shared appreciation for the human experience,” says Jeremy Blunt, Executive Director. “At Theatrikos, we're committed to producing work that sparks conversation and reflection, and this show delivers both while being exceptionally entertaining. There's something incredibly powerful about gathering together to laugh at our shared romantic foibles and recognize ourselves in these universal stories. That's what makes this production so exciting for 2026; it's an invitation to take a break, share a laugh, and celebrate the ties that bind us together.”

The production features a talented ensemble of performers: Jessie Del Quadro Luckey, Gavin Tolbert, Taylor Salazar, and Scott Seaman.

The artistic and creative team joining directors Delano Hays and Dani Commanda includes Sarah Casey, music direction; Sarah Kelley, choreography; David Goldstein, scenic design; Bracken Davis, costume design; Jackson Potts, lighting design; Kelli Cvercko, sound design; and Julia Nickolas, production stage manager. Their combined talent transforms the stage into an evocative, immersive environment that perfectly captures the sharp wit and musical energy of DiPietro and Roberts' modern classic.

I LOVE YOU, YOU'RE PERFECT, NOW CHANGE to Open at Theatrikos Theatre Company

Thu, 28 May 2026 05:12:57 PST

The production features a talented ensemble of performers: Jessie Del Quadro Luckey, Gavin Tolbert, Taylor Salazar, and Scott Seaman.

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

Wed, 27 May 2026 20:59:39 PST

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

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

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

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

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

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

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

The performance schedule includes:

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

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

Review: DRACULA: A COMEDY OF TERRORS at Arizona Theatre Company

Mon, 25 May 2026 17:55:28 PST

Some productions of DRACULA take the story’s gothic atmosphere so seriously they forget the Count himself would find them tedious. Arizona Theatre Company's current staging of Gordon Greenberg and Steve Rosen's adaptation, DRACULA: A COMEDY OF TERRORS, doesn’t go down that road. Instead, it treats the whole mythology as an elaborate setup for one punchline after another. The Gothic toolkit remains. The strobes abound. The thunder booms, the shadows hover, mist flows, and handheld sprayers are brandished like weapons. ATC just refuses to treat any of it with a straight face. What follows is unabashedly campy, nonstop shtick, pulled off by a sharp ensemble that knows exactly what it's doing with every bit.

This isn't simply a modernized DRACULA. It's a DRACULA with an existential itch it can't scratch. The Prince of Darkness is still immortal, still dangerous, but he's also desperately lonely, a self-mythologizing celebrity who has spent centuries managing a brand nobody is around to appreciate. When Jonathan Harker shows up in Transylvania to finalize an English property deal, Dracula sees something more valuable than a business transaction: a ticket out, and an audience to go with it.

What makes ATC's production, directed by Greenberg, especially distinctive is how five performers expertly carry an entire ecosystem of characters. The quick changes are dizzying: actors pivoting between characters with barely enough breath to finish a sentence before becoming someone else entirely.

As the earnest English estate agent who'll deliver Dracula to England, James Romney's Harker is the production's resident straight man: sincere, awkward, and so genuinely smitten with Lucy that his devotion becomes its own running joke.

Kelly Bashar (across multiple roles including Dr. Westfeldt and Renfield) brings a gleeful unpredictability to every role, while Susana Cordón's Lucy is sharp enough to play straight to Romney's besotted Harker and still get the bigger laugh.

Paul Vogt, switching between Mina and Van Helsing, is the production's designated scene-stealer: a commanding presence, fully committed, and funnier the further over the top he goes. The kind of performer who finds the largest possible choice in every moment and makes it work.

And as Dracula, Christopher James Stevens excels in playing the Count as pure camp. Anemic, platinum-blond, and built like someone who has had eternity to work on it, he threads vanity and vulnerability together, making the character's hunger for admiration feel less monstrous and almost human.

The production's comedy runs on barely-contained chaos: accents slip, identities blur, momentum builds through near-disaster rather than resolution. The laughs aren't just in the jokes or the timing; they're in watching everything nearly fall apart: costumes, character continuity, the fourth wall itself, which the cast breaks early and often.

All of it lands in a world meticulously imagined by the design team. Tijana Bjelajac's scenic design anchors the action in a space lined with blood-red panels that double as coffins, punctuated by cutout windows through which Dracula makes his entrances and exits, controlling his own appearances with the precision of someone who has, after all, had centuries to rehearse them. Tristan Raines's costumes keep pace with the production's identity-scrambling demands, Rob Denton's lighting delivers all the Gothic atmosphere you could want…and does it with obvious relish. Victoria Deiorio's original music and sound design give the whole thing its pulse.

This is the kind of show that reminds you why live theatre exists. Funny, fast, and fiendishly well-performed. The Count would approve.

DRACULA: A COMEDY OF TERRORS runs through June 7th at:

Tempe Center for the Arts, 700 W. Rio Salado Parkway, Tempe, AZ -- 1-833-ATC-SEAT

Arizona Theatre Company ~ https://atc.org/

Photo credit to Tim Fuller – L to R: James Romney, Susana Cordon. Christopher James Stevens, Kelly Bashar

Review: EVER AFTER at Phoenix Theatre Company

Sat, 23 May 2026 15:10:10 PST

Love is all about finding the right person and fighting for them. Based on the 1998 film with the same title, EVER AFTER is a musical take on the classic Cinderella story. The Phoenix Theatre Company’s production is a beautiful and very funny rendition of the musical.

The Cinderella in this story is Danielle de Barbarc (Bailee Enderbrock). She is strong, well-read, and feisty with a caring heart. Like the classic tale, Danielle’s father, Auguste (Jesse Sharp), remarries after the death of Danielle’s mother. Shortly after his marriage to Rodmilla de Ghent (Lisa Howard), Auguste dies, leaving Danielle feeling responsible for taking care of her stepmother and stepsisters, Marguerite (Grace Rogers) and Jacqueline (Andrea Macasaet). While disguised as a countess trying to rescue her servant friend, Laurent (Teddy Ladley), from being sent to America after Rodmilla sold him, she meets Prince Henry. At the performance I attended, Prince Henry was played by understudy Alexander Mendoza. Henry is quickly smitten with Danielle, and their love story begins. As Henry falls in love with the ‘countess,’ all the ladies in the kingdom try their best to woo him after his engagement is broken with the princess of Spain due to his disinterest in marrying someone he does not love. Included in these ladies is Marguerite, as Rodmilla hatches a scheme to make her the next king of Spain. This take on the classic Cinderella story is fun and full of very funny moments. Despite the lack of magic, with Leonardo da Vinci (David Garrison) taking on the role of the fairy godmother, the production and the grand love story still feel magical.

There were several stand-out performances from the cast. Lisa Howard’s performance as Rodmilla de Ghent was a compelling take on the evil stepmother. While just as evil as any other rendition of the story, Rodmilla is manipulative and cunning. Instead of being outright completely horrible, the true extent of her evilness is revealed to the audience and Danielle throughout the performance. In addition to the great take on the character, Howard’s acting was strong, and her voice was powerful. She was the perfect cast for a villain who can command the room.

Bailee Enderbrock’s performance as Danielle was fun to watch. Danielle is the perfect rendition of a Cinderella for a modern audience; she keeps the classic features of a Cinderella character, kind and thoughtful, but adds the female empowerment and strength that today’s young girls should be seeing. Her singing and comedic timing worked well with Alexander Mendoza’s portrayal of Henry. Mendoza’s performance was extremely funny. They were a great fit to play a romcom couple.

Leonardo da Vinci was a creative take on the fairy godmother that worked surprisingly well. His grounded nature, compared to the other characters, when discussing love and overall presence, makes for many comedic scenes. David Garrison played the role perfectly. His demeanor and delivery were the perfect example of someone who is two steps ahead of everyone else and trying to create order.

The play's design, by Reid Thompson, was beautiful. From walking in and seeing the curtain, to the curtain rising to reveal the several beautiful sets portraying France. The way the sets look is fittingly reminiscent of a storybook, helping the audience feel immersed in the fairy tale world. The costume, by designer Kish Finnegan, was just as stunning. For any period piece, the costumes are a vital part to set the tone. They are especially important in EVER AFTER as the costuming and their relation to class are relevant to the plot and Danielle’s disguise. The production team nailed all elements of the design.

The music and lyrics by Zina Goldrich and Marcy Heisler, respectively, were a lot of fun. The more comedic numbers especially stood out when combined with the talent of the orchestra and actors. The music is at its strongest when it is given the opportunity to be clever, which is what makes comedic numbers shine. The ensemble numbers were always very exciting. Billy Griffin did an excellent job of choreographing the numerous dances throughout the production. There is a good mix of different dance styles, keeping the audience members excited for what dance will come next.

EVER AFTER is a funny, optimistic, and dreamy love story perfect for any musical lover. It is a beautiful reminder of the magic of being in love and the strength that having the love of other people can provide. EVER AFTER at the Phoenix Theatre Company is an exciting and refreshing experience for audience members of all ages.

EVER AFTER plays at Phoenix Theatre Company through June 14h.

The Phoenix Theatre Company – https://phoenixtheatre.com — 602-254-2151

Venue: The Phoenix Theatre Company – 1825 N Central Ave

Phoenix, AZ 85004

Photo Credit to Bailey Crawford.

PLAGUE PLAY to Make Regional Premiere in Arizona at Valley Players AZ

Fri, 22 May 2026 14:45:19 PST

In its second season, Valley Players is staging the regional premiere of the acclaimed Off-Broadway hit, Plague Play, by New York City playwright Erin Proctor.

Plague Play is a radical retelling of the story of Moses as he and his family unleash the Plagues upon the people of Egypt. As the Plagues progress, the audience is lead on a moving journey that dares them to ask whether violence simply begets more violence and when is enough bloodshed enough?

Performances will run from May 29 through June 6, with a charity matinee in support of ANERA on Saturday, June 6.

MAKE MUSIC PHOENIX to Bring Free Citywide Performances and Family Activities

Thu, 21 May 2026 23:07:29 PST

Rosie's House: A Music Academy for Children will present Make Music Phoenix on Sunday, June 21, 2026, a free, all-day citywide celebration featuring live performances, workshops, interactive music experiences and family activities at venues across Phoenix.

Inspired by the international Make Music Day movement, the annual event invites the community to experience music in museums, arts centers, cafés and public spaces throughout the city.

Now in its third year, Make Music Phoenix continues to grow as one of the Valley's largest community music celebrations. Last year's event engaged more than 5,700 community members across 13 ZIP codes in partnership with museums, libraries, businesses and more than 115 artists and volunteers.

“Make Music Phoenix is about bringing people together through the joy of music and creating opportunities for the entire community to participate,” said Becky Bell, President and CEO of Rosie's House. “From hands-on music making and cultural performances to family-friendly activities and spontaneous musical moments across the city, this event celebrates the creativity and diversity that make Phoenix such a vibrant place to live.”

The day begins with the “Kickoff Celebration: 30 Years of Music” at Rosie's House: A Music Academy for Children from 9 a.m. to noon, featuring performances by Rosie's House alumni, students and faculty, along with free breakfast, Valley Metro passes, raffle prizes, workshops including mixing with DJ Dimension, an Instrument Petting Zoo, DIY instrument crafts, and free face painting.

Additional featured Make Music Phoenix events include:

Interactive performances, instrument exploration and storytime activities at Arizona Center from noon to 3 p.m.
Arizona Opera will feature performances of Ivory and Bow, Opera for Lunch and Circle Singing with Juli Burdette at the Wittcoff Black Box from 10 a.m. to 2 p.m.
Free Taiko drumming workshops and performances with Fushicho Daiko at the Fushicho Daiko Dojo on Grand Avenue from 12:00 - 1:30 p.m.
Indigenous music and storytelling presentations at Heard Museum featuring artists Ryon Polequaptewa and Darryl Tonemah from 10 a.m. to 4 p.m.
A free Family Field Trip at Musical Instrument Museum, hands-on music experiences and access to MIM's galleries for families. Free admission for families, up to 2 adults and all children.
Family Dance classes at Be Kind from 2 pm - 5 pm
Interactive arts and music programming at Phoenix Center for the Arts and Thunderbird Arts Center throughout the day.
Community Open Mic Night at Phoenix Conservatory of Music from 6:30 to 8 p.m.
A vinyl DJ pop-up experience at Strip Mall from 10 a.m. to 12 p.m.
Live musical performances aboard the Valley Metro Rail connecting participating venues throughout the day.

Families can also participate in the Make Music Phoenix Kids Passport program, encouraging children to visit multiple venues, collect stickers and complete DIY musical activities throughout the day.

All Make Music Phoenix events are free and open to the public, though some activities require advance registration.

For a full schedule, venue details and updates, visit makemusicphoenix.org

MAKE MUSIC PHOENIX to Bring Free Citywide Performances and Family Activities

Thu, 21 May 2026 23:07:29 PST

Inspired by the international Make Music Day movement, the annual event invites the community to experience music in museums, arts centers, cafés and public spaces throughout the city.

Additional featured Make Music Phoenix events include:

Interactive performances, instrument exploration and storytime activities at Arizona Center from noon to 3 p.m.
Arizona Opera will feature performances of Ivory and Bow, Opera for Lunch and Circle Singing with Juli Burdette at the Wittcoff Black Box from 10 a.m. to 2 p.m.
Free Taiko drumming workshops and performances with Fushicho Daiko at the Fushicho Daiko Dojo on Grand Avenue from 12:00 - 1:30 p.m.
Indigenous music and storytelling presentations at Heard Museum featuring artists Ryon Polequaptewa and Darryl Tonemah from 10 a.m. to 4 p.m.
A free Family Field Trip at Musical Instrument Museum, hands-on music experiences and access to MIM's galleries for families. Free admission for families, up to 2 adults and all children.
Family Dance classes at Be Kind from 2 pm - 5 pm
Interactive arts and music programming at Phoenix Center for the Arts and Thunderbird Arts Center throughout the day.
Community Open Mic Night at Phoenix Conservatory of Music from 6:30 to 8 p.m.
A vinyl DJ pop-up experience at Strip Mall from 10 a.m. to 12 p.m.
Live musical performances aboard the Valley Metro Rail connecting participating venues throughout the day.

Families can also participate in the Make Music Phoenix Kids Passport program, encouraging children to visit multiple venues, collect stickers and complete DIY musical activities throughout the day.

All Make Music Phoenix events are free and open to the public, though some activities require advance registration.

For a full schedule, venue details and updates, visit makemusicphoenix.org

MARY POPPINS: AN INTERACTIVE BALLET ADVENTURE to Tour Phoenix Libraries This Summer

Thu, 21 May 2026 05:31:55 PST

This summer, families across Phoenix are invited to step inside the magical world of Mary Poppins with Convergence Ballet Company's Mary Poppins: An Interactive Ballet Adventure, presented at libraries throughout the Valley as part of local summer reading programming.

Blending storytelling, music, and dance, these free performances bring excerpts from P.L. Travers' beloved stories to life through an imaginative, interactive ballet experience designed especially for young audiences. Throughout the performance, children are invited to participate alongside the dancers — imagining magical flavors, learning simple movement sequences, helping Mary Poppins search for a fallen star, and discovering how stories can leap beyond the page through movement and music.

Inspired by the whimsical and dreamlike spirit of the original books, the production combines narration, theatrical storytelling, and live dance performance in an intimate library setting. Featuring professional dancers from Convergence Ballet Company, the performances introduce children to ballet in a playful and welcoming environment while encouraging creativity, listening, and imaginative exploration.

“The wonderful thing about Mary Poppins is that the stories already feel musical and full of movement,” said Ian Parsons, Convergence Ballet's Artistic Director. “We wanted to create an experience where children could step inside that world themselves — not just by watching, but by imagining, moving, and participating in the storytelling alongside the dancers.”

Seating is first come, first served.

Performance Schedule:

Wednesday, June 3 – Ironwood Library
4333 E Chandler Blvd, Phoenix, AZ 85048
Performances at 2:00 p.m. & 4:00 p.m.

Wednesday, June 10 – Cesar Chavez Library
3635 W Baseline Rd, Laveen, AZ 85339
Performance at 2:00 p.m.

Thursday, June 11 – Agave Library
23550 N 36th Ave, Phoenix, AZ 85310
Performance at 3:00 p.m.

Thursday, June 25 – Palo Verde Library
4402 N 51st Ave, Phoenix, AZ 85031
Performance at 11:00 a.m.

Friday, June 26 – Burton Barr Central Library
1221 N Central Ave, Phoenix, AZ 85004
Performance at 2:00 p.m.

Monday, June 29 – Surprise Regional Library
16089 N Bullard Ave, Surprise, AZ 85374
Performance at 6:00 p.m.

Review: THE WIZARD OF OZ at Hale Centre Theatre

Tue, 19 May 2026 20:43:03 PST

THE WIZARD OF OZ is a timeless story about the importance of friendship and the strengths that every person holds within. This version of the story follows the original 1939 film closely, using the film’s classic songs with music and lyrics from Harold Arlen and E.Y. Harburg. Hale Centre Theatre’s production of the musical is fun for the whole family.

The musical follows Dorothy Gale (Gracie Gamble), a young farmgirl from Kansas living with her Aunt Em (Ivana Martinic) and Uncle Henry (Raymond Barcelo). After her mean neighbor, Miss Almira Gulch (Alice Johnson), tries to take her dog, Toto (puppeteer: Benicio Bermudez), Dorothy runs away but finds herself trapped in a Tornado. After returning home, she’s carried away by the twister only to step outside and realize she’s far from home. In the Land of Oz, she meets Glinda (Ivana Martinic), who informs her she’s killed the Wicked Witch of the East and gives her the witch’s Ruby Slippers to protect her from the Wicked Witch of the West (Alice Johnson). With the witch pursuing Dorothy, Glinda sends Dorothy down the yellow brick road on a journey to find the Wizard of Oz to send her home. Along the way, she meets the Scarecrow (Joshua South), the Tinman (William Buhler), and the Cowardly Lion (Trevon Powell). Together, the four make the journey to the Emerald City.

Although the musical primarily follows the film, there are some changes. This adaptation is perfect for fans of L. Frank Baum’s books or the history behind the film. There is more Wizard of Oz content that was not included in the original film. It includes a song cut from the original film: "Jitterbug.” Additionally, this adaptation tells the backstory of the Tinman from the book. The musical keeps the classic setting of the 1930s, but there are occasionally newer jokes clearly written for a modern audience. These jokes and inclusions help keep the musical fresh and unique, but still faithful to the film.

The musical is lively and fun, aided by choreography and direction from Cambrian James. Throughout the musical, there are numerous great dance numbers. These high-energy moments, full of talented performers, were very entertaining in Hale Centre Theatre’s in-the-round stage. With the addition of the costumes, designed by Brielle Hawkes, the dancing helps bring audiences into the world of Oz. There was clear thought put into the movements of certain characters as well. Joshua South’s performance of the scarecrow had an impressive physicality; he nailed the uncontrolled-looking movements that a being made of straw should have. Bennett Allen Wood as Nikko, the flying monkey, was also impressive. His brief appearance was attention-grabbing and a fun, fantastical take on primate movements.

There were numerous Great Performances. Gracie Gamble’s performance as Dorothy did a nice job of capturing both Dorothy’s childlike wonder and determination and her fear and longing for home. It’s easy to get swept up into the fun world of Oz, but her performance grounds the story and centers the message of the importance of family and the people that make somewhere home. Her rendition of “Somewhere Over the Rainbow” was touching. Another great performance was from Trevon Powell. His performance as the Cowardly Lion was very funny; his comedic timing was great, and his vocals were very strong. Alice Johnson’s portrayal of both Miss Gulch and the Wicked Witch was very fun. Her over-the-top performance was perfectly suited to the character.

Nearly 90 years after the film premiered and over 120 years since the novel was published, this great American fairytale is a story to love. This rendition of the musical is great for people both young and old. There’s no place to see THE WIZARD OF OZ like Hale Centre Theatre.

THE WIZARD OF OZ plays at Hale Centre Theatre through June 27h.

Hale Centre Theatre -- https://www.haletheatrearizona.com/Online/default.asp-- 480-497-1181 Venue: Hale Centre Theatre -- 50 West Page Avenue, Gilbert, AZ 85233

Photo Credit to Nick Woodward-Shaw: Left to right: Benicio Bermudez, Gracie Gamble, Joshua South, Trevon Powell, William Buhler

Feature: SEEING MAYA -- A Tale of Human Connection Defying Boundaries

Tue, 19 May 2026 16:17:19 PST

In Joe Bardin’s SEEING MAYA, peace doesn’t emerge through political rhetoric or grand ideological revelation. At least conceptually, it begins with something far more fragile: two people willing to step outside the boundaries of what feels normal.

Set in Tel Aviv during the Gulf War, the play centers on Maya, 52, who has never experienced a meaningful relationship with a man, and Danny, a 26-year-old American navigating an unfamiliar culture under the shadow of regional conflict. Their unlikely connection forms the emotional core of a work that, according to Bardin, seeks to explore how deeply ingrained assumptions about age, identity, and nationality shape the way people relate to one another.

In conversations about the play and in his artistic statements, Bardin suggests that SEEING MAYA is ultimately less interested in conventional romance than in the emotional and psychological structures that keep people locked inside familiar forms of conflict. The unconventional relationship at the center of the story is not presented merely as provocation or novelty, but as a challenge to habitual ways of seeing. If conflict becomes normalized within societies or within personal lives, then meaningful connection may require stepping outside inherited expectations altogether.

That idea also informs Bardin’s broader philosophy about contemporary theater. “In-your-face theater was for more genteel times,” he writes. “Now we are shaken every day.” In Bardin’s view, modern audiences are no longer suffering from complacency so much as saturation. Political turmoil, media overload, and perpetual reaction have altered the emotional environment in which theater operates. Rather than attempting to escalate shock or outrage, his work appears aimed at creating space for reflection, vulnerability, humor, and unexpected intimacy.

SEEING MAYA seems designed to operate in precisely that emotional territory. The Gulf War setting functions not simply as historical backdrop, but as an atmosphere in which instability becomes ordinary and emotional defenses harden. Against that backdrop, the connection between Danny and Maya takes on larger symbolic resonance without losing its human scale.

What appears to make the relationship dramatically compelling is not simply the age difference between the characters, but the way the play uses that difference to unsettle assumptions about emotional compatibility, social roles, and personal identity. Maya’s experience with men has left her skeptical of intimacy within the boundaries she has previously known. Danny, meanwhile, arrives as both outsider and disruptor. Their connection seems to emerge not from certainty or fantasy, but from a willingness, however uneasy, to move beyond prescribed emotional frameworks.

Bardin has suggested that this dynamic parallels larger questions surrounding conflict and peace in the Middle East itself. In a region where division can become entrenched as normal, the play asks whether entirely different forms of connection may be necessary to imagine alternatives to perpetual opposition. Importantly, however, SEEING MAYA doesn’t appear to approach these ideas through overt political argument. Instead, it translates them into intimate emotional terms: awkwardness, vulnerability, attraction, humor, fear, and the risk of allowing another person to disrupt one’s established sense of self.

The balancing between seriousness and humor also appears central to Bardin’s dramatic approach. He emphasizes humor and poetry as tools for drawing audiences away from what he calls the “obvious, exhausted conflicts of the day” and toward “the deep, unknown, and unlimited heart of human connection.” SEEING MAYA seems to embrace that tension, moving between emotional exposure and moments of levity rather than settling into either romance or political allegory alone.

Whether viewed primarily as an intimate love story, a meditation on conflict, or an exploration of emotional risk, SEEING MAYA is rooted in the belief that genuine human connection rarely emerges from safety or predictability. Instead, it begins when individuals step beyond the limits of what they have accepted as normal and allow themselves to enter unfamiliar emotional ground.

For Bardin, that may also define theater’s continuing purpose in an overstimulated age: not simply to mirror conflict back to audiences, but to create the possibility of seeing beyond it.

SEEING MAYA was most recently featured in March as one of the entries at the 2026 Atlas Intersections Festival in Washington, D.C. The cast, directed by Raghad Makhlouf included Lisa Hodsoll as Maya, Ian Armstrong, Emily Morrison, Max Johnson, and Tim Pabon. For more information and to keep up with the development of this play, go to https://theopenroadarts-officialwebsite.com/seeing-maya/#.

Graphic credit to Bardin

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

Phoenix Children's Chorus Will Head to Boston as America's 250th Anniversary Ambassadors

Tue, 19 May 2026 04:59:52 PST

The Phoenix Children's Chorus will travel to Boston June 3–9, 2026, as part of the nationwide celebration of America's 250th anniversary, continuing the organization's long-standing tradition of international and domestic cultural exchange through music.

The tour will feature performances at Grace Episcopal Church on Friday, June 5 at 7 p.m., and Old South Church on Sunday, June 7 at 4 p.m.

The Boston tour is designed not only as a performance opportunity, but also as a transformational educational experience for the young singers, who serve as cultural ambassadors for Phoenix and Arizona while engaging with the nation's history, culture, and artistic traditions.

The community is also invited to send the singers off at a special pre-tour concert featuring PCC touring choirs Cadenza and Encore on Saturday, May 30 at 3 p.m. at Camelback Bible Church. The concert will feature favorite selections from throughout the season alongside new repertoire prepared specifically for the Boston tour. Tickets are $10 and available at phoenixchildrenschorus.org

“Touring experiences are one of the most powerful ways our singers grow both artistically and personally,” said Artistic and Executive Director Troy Meeker. “When students step into places where history happened, collaborate with other musicians, and share their voices with new audiences, they develop confidence, empathy, leadership, and a deeper understanding of their role in the world. Participating in the celebration of America's 250th anniversary in Boston makes this tour especially meaningful.”

During the weeklong tour, Chorus members will participate in a panoramic tour of Boston, visit historic landmarks including the Old North Church, the Freedom Trail, Salem, and Boston Harbor, and tour Harvard University. Singers will also participate in a workshop with acclaimed choral educator Andrew Clark and attend Boston Pops Gospel Choir Night at Symphony Hall.

Touring has long been a cornerstone of the Phoenix Children's Chorus educational philosophy, exposing young singers to new cultures, musical traditions, and perspectives while helping them grow as artists and individuals. Previous tours have taken Chorus members to destinations including Japan, Australia, Italy, Argentina, and beyond.

Founded in 1984, the Phoenix Children's Chorus provides exceptional choral music education and performance opportunities for young people across the Valley, helping students develop artistry, discipline, teamwork, and leadership through the power of music.

Review: OUTSIDE MULLINGAR at Theatre Artists Studio

Mon, 18 May 2026 10:43:07 PST

There are productions that succeed because the script is strong, and productions that succeed because performers manage to elevate familiar material. Theatre Artists Studio’s production of John Patrick Shanley’s OUTSIDE MULLINGAR achieves something rarer: a complete unity of tone, performance, language, and emotional truth.

Shanley situates the play in the confined geography of a rural Irish farmhouse kitchen, where questions about land, inheritance, and ownership are points of tension. A long-standing grievance over a small but consequential piece of property becomes the catalyst for a larger reckoning. Within this enclosed space, a father’s doubts about his son’s ability to sustain the land of their lineage sit alongside a history of withheld connections and unresolved resentments. Running alongside this dynamic is the fraught relationship between Rosemary and Tony, in which long-standing mutual feelings are repeatedly suppressed by pride and fear.

Under the direction of Polly Chapman, the production resists both sentimentality and broad comedy, finding instead the balance Shanley’s writing requires. The play’s power lies in its blend of awkwardness and yearning, humor and regret, stubbornness and grace. Chapman works with restraint, allowing her cast to move within the contours of Shanley’s language and its rhythms. As a result, the emotional tensions of the piece emerge naturally from characters who have spent entire lives learning what not to say. Thus, the production is deeply moving without ever appearing to strain for effect.

In Amanda Noel Trombley’s hands, Rosemary Muldoon is far more than an eccentric romantic heroine. Beneath her sharp-tongued comebacks and outspokenness lies a decades-long love for Anthony that has survived his emotional evasions, silences, and near-total obliviousness. Trombley reveals Rosemary as wounded yet ferociously intelligent, emotionally fearless, and deeply courageous. Her performance carries both the ache and absurdity of a woman who has waited far too long to speak plainly. She never turns Rosemary into caricature; even in her most heightened comedic moments, her emotional truth remains intact. By the play’s final movements, she commands the stage with extraordinary authority.

Opposite her, David Lorello gives Anthony an intense and carefully calibrated authenticity. His performance is so unforced that it’s easy to overlook how technically exact it is. Lorello understands that Anthony’s inwardness and awkwardness reflect fear: fear of exposure, of inadequacy, of being truly seen. A 42-year-old farmer who believes himself fundamentally unsuited to the life he has inherited, Anthony carries the private conviction that he is somehow cursed, and incapable of loving the land.

Brad Allen, portraying Anthony’s father Tony, makes the character’s bluntness and buried sorrow feel inseparable, shaping a portrait of a man confronting mortality, disappointment, and love he has never adequately expressed. In the play’s father-son dynamic, affection is never absent, but it is continually filtered through judgment, pride, and the difficulty of recognition.

And Judy Rollings, one of the enduring treasures of the Phoenix stage, gives Aoifa remarkable texture and wit. She possesses that increasingly rare theatrical gift of making every line sound discovered in the moment.

What is striking throughout is the effortlessness of the ensemble. Nothing feels manufactured. Nothing reaches for applause. The performances are pure gold.

Visually, the production is equally effective and evocative. Jeff Chapman’s set design extends beyond the stage itself, creating an environment rather than merely a backdrop. The world of the play begins before the audience fully settles into their seats. The sweeping farm-field mural by Maia Landau establishes an atmosphere shaped by memory, weather, distance, and inheritance. Together, they suggest the psychic landscape of rural Ireland as much as its physical one.

And Shanley’s writing (Doubt, Defiance, Storefront Church) remains its own kind of miracle.

Few contemporary playwrights capture human contradiction with such lyric clarity. Shanley writes people who wound each other accidentally, who hide tenderness beneath irritation, who weaponize humor against loneliness. There is music in his dialogue, marked by the cadence of souls struggling toward connection. In this production, that lyricism is fully honored.

As Theatre Artists Studio closes its 20th Season, already distinguished by ambitious and intelligent work, this production feels like a culminating statement of artistic identity. Theatre Artists Studio has long occupied a singular place in the Phoenix theater community: intimate, actor-centered, serious about text, and unafraid of emotional depth. With OUTSIDE MULLINGAR, the company ends the season on a high note, a master class in acting, bringing the essence of human experience to center stage…and that, in these times, is more than enough.

OUTSIDE MULLINGAR runs through May 31st at:

Theatre Artists Studio -- https://www.thestudiophx.org/ -- 12406 N. Paradise Village Parkway E, Scottsdale, AZ -- 602-765-0120

Photo credit to TAS – Clockwise: Brad Allen and Amanda Noel Trombley; David Lorello and Trombley; Allen and Lorello; Judy Rollings and Lorello

Valley Youth Theatre Will Present SHREK THE MUSICAL in Downtown Phoenix This Summer

Thu, 14 May 2026 19:27:28 PST

Valley Youth Theatre (VYT) is heading to the swamp this summer with its final production of the 25/26 season, Shrek the Musical. Based on the Oscar-winning DreamWorks Animation film celebrating its 25th anniversary this year, the Tony Award-winning musical adventure features music by Jeanine Tesori (Thoroughly Modern Millie, Caroline, or Change) and a hilarious book by David Lindsay-Abaire.

Generously sponsored by Valley Toyota Dealers, the larger-than-life production runs June 12–28, 2026 on Center Stage at Herberger Theater Center.

Featuring a cast of talented performers ages 10–19 from across Arizona, Shrek the Musical follows an unlikely hero who embarks on a life-changing journey alongside a wisecracking Donkey and a feisty princess who resists her rescue. Along the way, audiences encounter fairy tale misfits, a fire-breathing dragon, and a short-tempered villain in a hilarious and heartwarming adventure celebrating friendship, acceptance, and the importance of being yourself.

The cast includes Erick Resendiz Jr. as Shrek, Jayvin Sumler as Donkey, Lucy Glow as Princess Fiona, Shane Sedivy as Lord Farquaad, Tayson Toledo as Pinocchio, and Ra'jihya Givens as Dragon. Additional cast members include Shea Levine Ging as Sugar Plum Fairy/Rat, Noelia Castillo as Young Fiona, Abby Baumbach as Teen Fiona, Carver Mollencop as Little Shrek, Abby Fleming as Queen Lillian/White Rabbit, Jaden Sparkman as King Harold/Thelonius/Captain, Drake de Gennaro-White as Big Bad Wolf, Lucas Stevens as Pied Piper/Guard, Isela Tovar as Mama Ogre/Wicked Witch, Isaiah Asmare as Papa Bear/Papa Ogre/Guard, Jolie Grimwood as Mama Bear, Oliver Spiegel as Baby Bear/Dwarf, Josephine Taylor as Fairy Godmother, London Cairney as Ugly Duckling, Azella Casap as Humpty Dumpty, Kaylah Magee as Elf, Mahagani Carter as Peter Pan, Tommy Gray as Pig/Knight, Jacob Hammond as Pig/Guard, Colton Wilcher as Pig/Rat, Claire Calihan as Blind Mouse/Rat/Duloc Dancer, Grier Donnally as Mad Hatter/Blind Mouse, Nora Bermudez as Blind Mouse/Duloc Dancer, Tommy Hebel as Bishop/Guard/Knight, Alexander Paquin as Rat, Kyler Tilley as Knight/Rat/Duloc Dancer, Andrea Grace Morris as Rat/Duloc Dancer, Ruby Crogan as Rat/Duloc Dancer/Dance Captain, Reagan Little as Rat/Duloc Dancer, Alyssa Ocean as Duloc Dancer, Hanna-Catherine Smith as Duloc Dancer, Ellie Evans as Duloc Dancer, Ariella Gilbert as Duloc Dancer, Aiden Haren as Guard/Duloc Dancer, and Jake Reifler as Guard/Knight.

“Shrek is a story about embracing who you are, celebrating differences, and finding friendship in the most unexpected places,” said Leigh Ann Dolan, executive director of Valley Youth Theatre. “This production is filled with extremely talented young people from across Arizona, including Erick Resendiz Jr., the young actor, playing Shrek, who is from Yuma and recently completed his first year at Grand Canyon University. Audiences are going to experience so much heart, humor, and the magic of live theatre when this fairy tale adventure takes the stage this summer.”

Featuring a live orchestra, conducted by Tristan Peterson-Steinert, the production is directed by Matthew Wiener, associate producer of Arizona Theatre Company, with choreography by Lauren Stanis.

Performances run June 12–28, 2026, at Herberger Theater Center. Tickets start at $24 plus fees and are available at www.vyt.com/tickets or by calling the Herberger Theater Center Box Office at (602) 252-8497. Group rates are available for parties of 20 or more. Special ASL-Interpreted performance happening Saturday, June 20 at p.m. with limited seating for those needing an unobstructed view of the ASL interpreters. Please contact the Herberger Theater Center's Box Office to reserve seats.

ABOUT VALLEY YOUTH THEATRE

Valley Youth Theatre's mission is to inspire young people to be the best they can be through a variety of performing arts opportunities. Along with mainstage productions, VYT offers year-round performing arts classes, Spring Break and Summer Camps, and award-winning community programs including Literacy and the Arts, Sponsor-A-Seat, and The Nigel Ross Scholarship Fund. For more information, visit www.vyt.com.

VYT alumni include Academy Award winner Emma Stone, Grammy Award winner Jordin Sparks, Kimiko Glenn, Max Crumm, and many more performers working on Broadway, film, television, and beyond.

Scottsdale Philharmonic Will Present Independence Day Concerts With Added Thursday Performances

Thu, 14 May 2026 18:43:58 PST

Tickets are now available for The Scottsdale Philharmonic's popular Independence Day Celebration concerts.

“We continue to have sold-out performances so we are excited to announce that we are adding a 7 p.m. Thursday evening performance in addition to the 4 p.m. Sunday afternoon performance,” says Joy Partridge, executive director of the Scottsdale Philharmonic. “Adding the extra concerts starts with the Independence Day Concert and continues in the fall with the start of our 2026-27 season.

“Our June 25 and 28 concerts will feature our 250th Independence Day celebration, ‘250 Years of Sound. Of Strength. Of America',” says Partridge. “Many of our patrons enjoy coming back year after year for this special-themed concert.

“We also are very excited to announce our new Summer Series Program including a pops concert (Star Wars Saga and more) on Sunday, July 26 and a full concert with chorale on Sunday, Aug. 30, both at 4 p.m.,” Partridge adds.

All concerts for the 2026 Season will be held at La Casa de Cristo Lutheran Church, 6300 E. Bell Rd., in Scottsdale, from 4-6 p.m. on Sundays and 7-9 p.m. for Thursday performances.

“As your Valleywide Symphony, we are proud to offer free live streaming for those who can't attend in person, affordable ticket prices, free tickets to students and veterans, scholarships programs and easy parking,” Partridge says. “Our mission is to make classical music available to everyone.

“We have created a new program called the ‘Student Music Education Program' to expand classical music to our youth through free ticketing, live streaming, free musical instruments to those in need, and musical scholarships,” says Partridge. “We are als0 planning a children's concert program.

“Our ability to share beautiful music relies entirely on the generosity of individual donors and corporate sponsors,” explains Partridge. “Since ticket sales cover only one-third of concert costs, we need the unwavering support and dedication of our donors. If you're passionate about classical music, please visit our website to donate and join our growing community of supporters.”

Individual concert tickets range from $20 to $35 and can be purchased online at www.scottsdalephilharmonic.com. For more information about the Scottsdale Philharmonic, to volunteer, or to donate, please visit www.scottsdalephilharmonic.com or call 480-951-6077.

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Performance Schedule:

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2026-2027 Tour Dates:

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ABOUT VALLEY YOUTH THEATRE

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