BroadwayWorld.com Rhode Island Stories

DRACULA, SCHOOL OF ROCK and More to Launch Rhode Island Stage Ensemble 20th Anniversary Season

Tue, 09 Jun 2026 12:50:16 PST

Founded in 2006, Rhode Island Stage Ensemble is celebrating its 20th anniversary with a season centered around the theme of "Rising Up". The season will feature Dracula, School of Rock: The Musical, and Hadestown: Teen Edition, and more.

Season passes, which provide 20% off the entire MainStage season, are on sale now at www.ristage.org. Discounted passes for seniors, students, and military personnel are also available.

Dracula

Directed by Rose Linnell
October 16-24, 2026 at the Assembly Theater

This radical new production of Bram Stoker's gothic horror classic brings the suspense and seduction of the novel to the stage. Rich with humor and horror, the play paints a wickedly theatrical picture of literature's most famous vampire.

The Best Christmas Pageant Ever: The Musical

Directed by Brenda Brunston
December 11-19, 2026 at the Assembly Theater

The Herdmans are the worst kids in history—so when they crash Sunday school and demand parts in the Christmas pageant, the whole town panics. This buoyant musical adaptation brings the funny and touching holiday classic to life.

South Coast Contact

Written and directed by Stephen Norton
February 19-27, 2027 at Beacon Charter High School

There's something weird happening in southeastern Massachusetts. In this "live mockumentary" from playwright Stephen Norton, a group of UFO enthusiasts, skeptics, and something called the Pinktu Plormu descend upon the area to settle the matter once and for all. Filled with improv, the production features multiple possible endings.

School of Rock: The Musical

Directed by Christian O'Neill
June 18-26, 2027 at the Assembly Theater

Based on the iconic film starring Jack Black, Andrew Lloyd Webber's smash-hit musical follows Dewey Finn, a failed wannabe rock star who turns a class of straight-A students into a guitar-shredding, bass-slapping, mind-blowing rock band.

Hadestown: Teen Edition

A RISE Teen Production directed by Danielle Pennacchia
July 31-August 8, 2026 at the Assembly Theater

RISE's second annual teen production brings this haunting Greek myth folk opera to life. Inspired by classic Americana and vintage New Orleans jazz, Hadestown invites audiences on a journey to the underworld and back.

Newsies JR.

A RISE JR Production directed by Danielle Pennacchia
March 12-20, 2027 at the Assembly Theater

Seize the day with Disney's rousing musical that has thrilled and inspired young people for generations. Inspired by the true story of newsboys in turn-of-the-century New York, Newsies JR. features a Tony Award-winning score by Alan Menken and Jack Feldman.

A Christmas Carol: A One-Man Show

December 4-5, 2026 at Beacon Charter High School

A special presentation by RISE veteran Gordon Dell, this dramatic recitation is based on Sir Patrick Stewart's legendary Broadway one-man performance of Charles Dickens' immortal classic.

S.O.A.P.S.: Volume 5

April 23-25, 2027 at Beacon Charter High School

You never know what to expect when SOAPS season comes around again. The fifth annual Skit and One Act Play Showcase returns with another round of drama, comedy, and performance art from local writers.

Now in its 19th season, Rhode Island Stage Ensemble's mission is to provide quality, affordable theater performances and high-caliber education programs for children, youth, and adults throughout northern Rhode Island.

DRACULA, SCHOOL OF ROCK and More to Launch Rhode Island Stage Ensemble 20th Anniversary Season

Tue, 09 Jun 2026 12:50:16 PST

Season passes, which provide 20% off the entire MainStage season, are on sale now at www.ristage.org. Discounted passes for seniors, students, and military personnel are also available.

Dracula

Directed by Rose Linnell
October 16-24, 2026 at the Assembly Theater

The Best Christmas Pageant Ever: The Musical

Directed by Brenda Brunston
December 11-19, 2026 at the Assembly Theater

South Coast Contact

Written and directed by Stephen Norton
February 19-27, 2027 at Beacon Charter High School

School of Rock: The Musical

Directed by Christian O'Neill
June 18-26, 2027 at the Assembly Theater

Hadestown: Teen Edition

A RISE Teen Production directed by Danielle Pennacchia
July 31-August 8, 2026 at the Assembly Theater

Newsies JR.

A RISE JR Production directed by Danielle Pennacchia
March 12-20, 2027 at the Assembly Theater

A Christmas Carol: A One-Man Show

December 4-5, 2026 at Beacon Charter High School

A special presentation by RISE veteran Gordon Dell, this dramatic recitation is based on Sir Patrick Stewart's legendary Broadway one-man performance of Charles Dickens' immortal classic.

S.O.A.P.S.: Volume 5

April 23-25, 2027 at Beacon Charter High School

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.

NAISSANCE to Launch Renaissance Ballet Collective's Inaugural Season in Providence

Mon, 08 Jun 2026 22:00:47 PST

Renaissance Ballet Collective (RBC) has announced its inaugural production, Naissance, a weekend of classical ballet performances featuring dramatic storytelling and rarely seen works from the ballet canon.

Performances will take place at The Pavilion at Grace in Providence, Rhode Island, on Friday, July 17 at 7:30 p.m. and Saturday, July 18 at 2:00 p.m. and 5:30 p.m.

Naissance marks the beginning of RBC's inaugural summer season. RBC is a 501(c)(3) nonprofit ballet company founded in 2026 by Nina Yoshida-Webster, a professional ballet dancer with more than ten years of experience in the professional ballet community. She established RBC in Providence, Rhode Island, to preserve and continue the performance of classical story ballets for future generations.

Through its work, RBC seeks to revitalize classical ballet by emphasizing storytelling and emotional expression, making the art form accessible and engaging for audiences of all backgrounds, ages, and levels of experience.

The program, Naissance, features excerpts from Cavalry Halt and Harlequinade, choreographed by Marius Petipa, as well as selections from Walpurgisnacht from Charles Gounod's opera Faust.

Cavalry Halt is a comedic one-act ballet set to music by Johann Armsheimer, portraying the playful mischief and flirtation that ensues when cavalry officers arrive in a quiet village. Harlequinade, set to Riccardo Drigo's lively score, draws from Commedia dell'Arte and Venetian carnival traditions, blending wit, romance, and theatrical elegance. Walpurgisnacht is a fantastical ballet interlude inspired by German folklore's witches' sabbath, featuring music by Gounod and choreography in the tradition of Leonid Lavrovsky.

"I hope Naissance and RBC will bring RI and New England audiences a much-needed dose of joy and light-heartedness this summer!" said Nina Yoshida-Webster, Founder and Artistic Director of Renaissance Ballet Collective.

Tickets are pay-what-you-can with a minimum contribution of $20.

Performance Schedule

Friday, July 17 at 7:30 p.m.
Saturday, July 18 at 2:00 p.m.
Saturday, July 18 at 5:30 p.m.

NAISSANCE to Launch Renaissance Ballet Collective's Inaugural Season in Providence

Mon, 08 Jun 2026 22:00:47 PST

Performances will take place at The Pavilion at Grace in Providence, Rhode Island, on Friday, July 17 at 7:30 p.m. and Saturday, July 18 at 2:00 p.m. and 5:30 p.m.

The program, Naissance, features excerpts from Cavalry Halt and Harlequinade, choreographed by Marius Petipa, as well as selections from Walpurgisnacht from Charles Gounod's opera Faust.

Tickets are pay-what-you-can with a minimum contribution of $20.

Performance Schedule

Friday, July 17 at 7:30 p.m.
Saturday, July 18 at 2:00 p.m.
Saturday, July 18 at 5:30 p.m.

MAMMA MIA! IN CONCERT to Be Presented by West Bay Community Theater

Fri, 05 Jun 2026 22:26:24 PST

West Bay Community Theater will present one of the original "jukebox musicals", MAMMA MIA! - IN CONCERT, Saturday, August 15, 2026 (rain date August 16th) at the North Kingstown Town Beach Bandshell. WBCT's unique, hybrid "In-Concert" format lends itself particularly well to this show, putting the music of ABBA to the forefront while still delivering a theatrical experience not to be missed.

Last year's CHICAGO-IN CONCERT broke all WBCT attendance records and MAMMA MIA! looks to do even better, if advance ticket sales are any indication. Director Paul Nolette joins the fold this year, working with the returning Alex Tirrell (Music Director) and Marley Shaw (Choreographer) to produce a sure-fire summer hit. With food trucks (Hometown Poke, Palagis Ice Cream, and Pam's Grill On the Go), an August night on the water, and a night of musical theater, it's the perfect occasion to arrive early, claim your spot on the lawn and take in one of the must-see events of the season.

Director Paul Nolette says, "My imagination has been running wild with the staging possibilities and I think audiences will be enchanted by this version of Mamma Mia! I came to this project completely unaware of the talent pool in the West Bay community. I was thrilled beyond measure to be able to fully cast the show after only two nights of auditions!"

The cast in question includes Patty Mott (who many will remember as Mama Morton in last year's Chicago), Amanda Birkitt, Ron Martin, Gabriella Rose, Luca Ialongo, Morgan Van Thuyne, Joey Del Santo, Ivis Tostes, Ella Gwiazdzinski, Olivia Dufresne, Nathaniel Jarret, Jackson Singleton, Michael Gorman, Harper Hennings, Cienna McNamara, Maggie Peterson, Kristen Allen, Rylie Appolonia, James Boughman, Alexa Laurent, Laura Perez, Hana Toler and Jack Barriere.

Featuring music and lyrics by Benny Andersson and Björn Ulvaeus, with some songs by Stig Anderson, Mamma Mia! features a book by Catherine Johnson and was originally conceived by Judy Craymer. The global hit musical, originally produced in London by Judy Craymer, Richard East, and Björn Ulvaeus for Littlestar in association with Universal, combines ABBA's chart-topping songs with the story of a young woman searching for her birth father on a picturesque Greek island.

The production is directed by Paul Nolette, with music direction by Alex Tirrell and choreography by Marley Shaw. Margee Wolf serves as costume and properties designer, with production design by Zach Searle and Terry Shea and lighting consultation by APAD. Additional material and arrangements are by Martin Koch. Mamma Mia! is presented through special arrangement with Music Theatre International (MTI).

Mamma Mia!-In Concert will be another patented WBCT hybrid musical event with a blend of "In Concert"-style staging and traditional musical theater, all accentuated by large video screens featuring live closeups and selected imagery and song titles. No seat is a bad seat for a WBCT summer show!

Tickets are on sale now at the WBCT box office. Tickets are $22 General Admission and $17 for Senior/Student/Active military (proof of status may be asked at the box office tent day of show). While tickets will be available to buy in person at the event, we highly suggest booking in advance to guarantee your spot. Visit https://wbctheater.org/box-office to purchase.

Trinity Rep's NEXT TO NORMAL

Fri, 05 Jun 2026 19:39:34 PST

I think Next to Normal changed my life.

It's only been a few days since I saw the show, and it has occupied almost every corner of my mind since. I knew nothing about Next to Normal going in. Coming out of it, I felt as though I had seen more of myself, more of what it means to live with mental illness, grief, trauma, and regret.

Even now, I find myself stunned, struggling to find the words to describe what this show accomplished. I'm finding it difficult to talk about just how extraordinary this production is, though it truly is. It is one of my favorite things I have ever seen Trinity Rep produce.

What makes writing about Next to Normal so challenging is that I keep returning to my own experience of it. So rather than begin with the performances, the music, or the direction, I think the best way to discuss this show is to tell you what it felt like to sit in the audience and watch it unfold.

It felt real. It didn't feel like a musical. I'll admit that I am not always the biggest fan of the genre. I've made my fair share of jokes about jazz hands over the years, and after seeing Next to Normal, I feel a little ashamed of that.

Everything about this production felt "normal." Every song and every piece of music moved the story forward. Rather than interrupting the action, the score pulled me deeper into it, revealing the characters' most vulnerable moments and emotions. Nothing felt forced. Nothing felt artificial.

I'll start with Rachael Warren, who leads the production as Diana. I kept thinking throughout the performance about a joke that I’ve adapted for this review, that "if I had a nickel for every time I'd seen Rachael Warren in a musical that changed my life, I'd have two nickels. Which isn't a lot, but it's funny that it's happened twice."

As Diana, Warren gives audiences a performance that is both tragic and heroic. Even in Diana's darkest moments, you can still see flashes of the woman she once was, someone vibrant, joyful, and deeply in love with life, and moreso, someone who might have those things again. Those glimpses make every setback feel that much more devastating.

I was stunned by the honesty of the portrayal. Warren has long been one of the finest singers I've had the privilege of watching perform, but here she brings far more than her remarkable vocal abilities. Warren becomes Diana, and I found desperate to know what would happen next.

Nathaniel Stampley, who plays Diana's husband Dan, delivered one of the performances that, at first glance, could easily be dismissed as the supportive husband, the caretaker whose primary purpose is to hold everyone else together. But Stampley brings so much more to the role than that. He captures not only what it means to be a husband, but what it means to be a caretaker first and a husband second. A person carrying profound loss while trying desperately to keep moving forward.

During intermission, I stepped outside with a friend to catch my breath. While we were outside, we overheard some younger audience members discussing Dan and commenting that they felt the character was underdeveloped. I respectfully disagree.

When you have spent years caring for someone else, when your identity becomes wrapped up in supporting the people around you, pieces of yourself inevitably get pushed aside. That isn't a failure of characterization. It is the characterization.

By the end of the show, I found myself overwhelmed with emotion for this character. Without spoiling anything, there is a moment when Dan finally begins to acknowledge his own need for healing. My immediate reaction was simple: thank you. You deserve this, too. The fact that I had such a visceral response to that moment speaks volumes about Stampley's performance.

Erin Saidah Lockett, who plays Natalie, performed so authentically that at times I felt like I was watching one of my own friends on stage.

Everything about Natalie felt real. From the smallest facial expressions to the way she carried herself, from her wardrobe to her interactions with her mother, every detail felt lived-in and genuine. There was never a moment when I felt like I was watching an actor perform a role.

I genuinely believe we are watching the early career of someone whose name audiences will know for years and years to come. I left the theater feeling excited that one day I’ll be able to say, “Oh, I saw her way back in the day at Trinity Rep!”

Looking at the connection between Diana and Natalie, I also want to mention choreographer Sharon Jenkins.

There is one moment where both characters are having what I can only describe as a mental pause. As it happens, Rachael Warren and Erin Saidah Lockett move in time with one another. It was such a small thing, and I honestly don't know how many people around me noticed it, but I couldn't stop thinking about it.

Nigel Richards plays Gabe, and while I figured out a spoiler about this character early on, it didn't make the character any less interesting to watch. What I found myself thinking about was how many different versions of Gabe exist throughout the show. Depending on the moment, he can be funny, charming, loving, and enraptured by the woman his mother is. Then there are moments where something feels different, threatening, menacing. Even when I thought I understood Gabe, I found myself reconsidering him again and again as the story unfolded, a true testament to how Richards portrays this haunting character.

And finally, we need to talk about Ariel Neydavoud, who plays both Dr. Fine and Dr. Madden. I'm not going to lie, I considered sending information about this show to my own psychiatrist and saying, "Hey, you might want to see this. There might be something in here for you, too."

I loved what Neydavoud did with these characters. Playing two doctors, what I appreciated is that neither character felt one-dimensional. They felt real, even when they were frustrating. They felt like doctors you’ve likely spoken to, the ones who have heard you, and the ones who have not. Also, and I need to be very clear about this: my God, can this man belt. Psychiatrist rockstar indeed.

Next to Normal is not an easy production to face.

If you have struggled with grief, loss, mental illness, trauma, or if you have ever found yourself in the role of caretaker, caregiver, spouse, child, or patient, there is a good chance that some part of this story will hit very close to home. I would encourage audiences to familiarize themselves with the content warnings before attending and to be honest with themselves about whether they are in the right headspace for a production like this.

That said, I cannot stop thinking about it.

For me, this show is a must-see. From the actors to the costumes, the music, the set, the choreography, and all the little things we never say out loud, everything about Next to Normal rocked my world.

Next to Normal is playing now through June 28.

Photo: Nathaniel Stampley as Dan, Erin Saidah Lockett as Natalie, and Rachael Warren as Diana. Directed and Music Directed by Amanda Dehnert; Associate Music Direction by Otto Vogel; Assistant Directed by Caroline Holmes; Choreography by Sharon Jenkins; Scenic Design by Patrick Lynch; Costume Design by April M. Hickman; Lighting Design by David Roy; Sound Design by Peter Sasha Hurowitz. Photo by Mark Turek.

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.

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: CAT ON A HOT TIN ROOF at The Gamm Theatre

Mon, 01 Jun 2026 17:50:08 PST

As I am writing this for the Rhode Island section of Broadway World, I feel as though I am uniquely equipped to talk about Tennessee Williams, or at least the world that so often lives inside his work, being that I am a Southerner who has now spent roughly thirteen years in New England.

I grew up surrounded by “bless your hearts,” pimento cheese, boiled peanuts and summers so oppressively hot that I had an actual panic attack when I found out my first Rhode Island apartment didn’t have central air.

Because of that, when I was given the opportunity to review Cat on a Hot Tin Roof at The Gamm Theatre, I jumped at the chance.

At its core, Cat on a Hot Tin Roof is a story about family, wealth, grief, marriage, friendship, inheritance, repression, silence, and what it means to live in a world where saying the thing you most need to say often feels impossible. It is also, whether directly or indirectly, a play about queerness in the South, masculinity, shame, and the impossible pressure of expectation.

And still, I found myself wondering throughout: what does Tennessee Williams mean in 2026? Yet, before I could even fully wrestle with that question, the performances themselves repeatedly pulled me back in.

First, we have Nora Eschenheimer as Maggie, and the only word I can think of to describe her, though I do not feel it fully does her justice, is powerhouse.There are actors who command a stage because they are loud, flashy, or intentionally pulling focus, and then there are actors who command a stage because they simply exist on it in a way that feels magnetic.

Nora falls firmly into the latter category.

I found myself completely enraptured by her performance. If she was in a scene with multiple actors, my eyes instinctively returned to her. What is Maggie thinking? What is she doing? How is she reacting to this moment? In moments of tension, rejection, desperation, or emotional unraveling, Nora responds in a way that quietly shifts the gravity of the room. Her reactions feel deeply lived in rather than performed, and because of that, the emotional stakes surrounding Maggie feel impossible to ignore.

Then we have Michael Underhill as Brick, a character who walks onto the stage already carrying an enormous emotional weight. From the moment Brick entered, all I found myself thinking was: what happened to this man? Of course, that’s not just because he is placed in a cast due to drunken high school antics that a man in his late-20s probably shouldn’t engage in sober, let alone after an amount of drinking that quiets the world and makes everything “click”. Michael plays grief in a way that feels restrained rather than performative, which works beautifully for a character so deeply trapped inside himself.

I would also be remiss if I did not take a moment to talk about John Cormier as Gooper and Charlotte Kinder as “Sister Woman” Mae. As I was preparing to write this review, I found myself oddly stuck on how to talk about them, largely because I hated them so much.

And I mean that as the highest compliment possible.

The performances are so effective, so believable, and so emotionally specific that I found myself genuinely seething at points. They reminded me of a very particular kind of Southern politeness. Did I mention the “Bless Your Hearts” I grew up with?

Then comes Joe Penczak as Big Daddy, and there is something to be said for an actor who can command a room before they have even truly entered it. Big Daddy spends much of the first act offstage, and when he finally enters at the top of Act II, I found myself confused why we weren’t all standing up to clap for him, long before he even speaks his first line.

Without spoiling too much, Joe understands Big Daddy. There is strength and stubbornness, yes, but also fear, anger, reflection, vulnerability, and the unsettling possibility of becoming someone different after diagnosis, misdiagnosis, and being forced to look back at your life when you aren’t sure you’re done living.

Then we have Karen MacDonald as Big Mama, who at times felt so familiar to me that I found myself thinking of my own grandmother. There is a subtlety to Karen’s performance that felt deeply rooted in Southern culture, something that I find non-Southerners don’t always see. Because while patriarchs may outwardly hold power, anyone raised in the South knows there is often something far quieter and equally powerful happening within the matriarch.

Karen understands this beautifully. She makes it clear that Big Mama’s words matter, even when others dismiss her, underestimate her, or speak over her. In fact, she rouses us all when she finally allows her inner world to come out, and finally puts someone in their place.

I would also be remiss not to shout out the ensemble, particularly the children, throughout the production.

At several points, I found myself completely aligned with Maggie and quietly wondering why, exactly, we needed these “no-neck children.” And yet, in what feels like the highest compliment possible, they are a perfect interpretation that anyone who has attended a Southern family gathering, church event, reunion, or holiday knows exactly what I mean. Loud, sticky (always sticky), always in the way, and incapable of understanding volume control. The young performers capture that energy perfectly.

I also want to take a moment to talk about the set design by Jessica Hill Kidd, because from the moment I walked into the theater, I found myself deeply interested in the world being built on stage. The audience is given a glimpse into one room of a Southern plantation home in the Mississippi Delta, but we are also given just enough of the outside world to feel its presence. We are reminded that nature, weather, heat, and the world beyond the walls continue to exist, even as this family seems intent on staying trapped within itself.

Each act seemed to offer something new to visually experience. At times, even inside an air-conditioned theater, I felt like I could almost feel the oppressive Southern heat radiating from the stage, as well as fireworks, and finally, a true summer Southern thunderstorm.

That said, I did occasionally find myself wondering about sightlines. The left side of the set functioning more like a space felt slightly underutilized from where I was seated, and I occasionally wondered whether audience members seated elsewhere were seeing moments that I was not and vice versa.

Still, the overall effect of the scenic design was stunning and deeply intentional, and again, I can't get enough of how real the set made the play feel.

The costumes by Mikayla Reid deserve praise as well. I found myself understanding these characters through what they were wearing, which is no easy feat.

How do I feel about this play? Should you go see it? Stick with me, in true Big Daddy fashion, I need to give you a story.

I drove home from this play confused. And I do not mean that in a bad way.

In fact, I think confusion can be one of the most powerful places to find yourself after a performance.

I had little to question about the production itself. It is, in essence, a stunning production.

My confusion came elsewhere.

Driving home, I found myself wondering again: What is the relevance of Tennessee Williams in 2026?

And as I sat with that question, I realized something uncomfortable.

Family dynamics. Wealth and wealth inequity. Friendship. Relationships. What it means to be queer in the South. The things we struggle to say out loud. The reality that life is often much harder than we let people see. These are things I grew up around. These are things my friends who still live in Southern states continue to navigate every day. That we in the “blue northern states” still struggle with, too.

And perhaps that is exactly why Tennessee Williams still matters.

I truly commend The Gamm Theatre for choosing Cat on a Hot Tin Roof as the final show of its 41st season. Cat on a Hot Tin Roof is phenomenal. It is provocative. It asks hard questions. It asks us to sit in discomfort.

And perhaps most importantly, it asks us to talk.

I think Cat on a Hot Tin Roof is exactly the kind of play we need to be entering into conversation with right now, and exactly the kind of play we should be discussing with the people around us long after we leave the theater.

Cat on a Hot Tin Roof runs at The Gamm Theatre now through June 21. Tickets are $60-$80 with discounts for members.

Photo by Cat Laine

Photos: GIRL FROM THE NORTH COUNTRY At Wilbury Theatre Group

Fri, 29 May 2026 18:19:01 PST

Wilbury Theatre Group is presenting the Rhode Island premiere of the Tony Award-winning Girl from the North Country by Tony Award-nominated playwright Conor McPherson with music and lyrics by Bob Dylan, winner of the Nobel Prize for Literature. See photos of the production.

The production is directed by Josh Short with musical direction by Milly Massey and choreography by Ali Kenner Brodsky. The cast features Anne Scurria, Jim O’Brien, Kimstelle Merisma, Carlin Fournier, Jessica Gates, Matt Fraza, Tanya Martin, Ricky Waugh, Jon Mael, Rodney Witherspoon, Philip Iredale, Scott Levine, Carrie Tully, Hannah Devine, David Rabinow, Dave Carney, and Riley Ratcliffe with scenic design by Monica Shinn, sound and lighting design by Andy Russ, costume design by Niki Healy, and stage management by Allison Marchetti.

The production runs now through June 21, 2026. Tickets, available through the Wilbury Group’s Access for All pay-what-you-can ticketing program ranging from $10 - $55, are now on sale at thewilburygroup.org.

It’s 1934 in Duluth, Minnesota. We meet a group of wayward travelers whose lives intersect in a guesthouse filled with music, life, and hope. Written by celebrated playwright Conor McPherson and featuring Tony Award-winning orchestrations by Simon Hale, Girl From the North Country reimagines 20 legendary songs of Bob Dylan as they’ve never been heard before, including Forever Young, All Along The Watchtower, Hurricane, Slow Train Coming, and Like A Rolling Stone.

“Like so many others, I've spent my whole life with Bob Dylan's music and I still find myself surprised by the depths of these songs," said Artistic Director Josh Short. "What Conor McPherson has done with them is breathtaking, he's mined the grief and the grace already living inside the music and built an entire world around it. This is a story about people on the edge of losing everything, and it reminds us that even in our darkest moments, there is still music, and there is still hope."

Girl from the North Country premiered at the Old Vic in London in 2017 and debuted on Broadway in 2020. It was nominated for seven Tony Awards. The New York Times calls the production: “Profoundly beautiful...This ravishing and singular musical hears America singing.” The Telegraph adds; "Not very often, a piece of theatre comes along that radiates an ineffable magic…the rare alchemy with which McPherson fuses a dustbowl drama set in Depression-era Minnesota with the keening mysticism of Dylan's back catalogue makes it almost glow."

Photo Credit: Erin X. Smithers

Carlin Fournier

Jon Mael, Tanya Martin, Ricky Waugh & Anne Scurria

Anne Scurria & the cast of Girl from the North Country

Jon Mael & the cast of Girl from the North Country

The cast of Girl from the North Country

Carrie Tully

Ricky Waugh & Philip Iredale

Riley Ratcliff & Tanya Martin

The cast of Girl from the North Country

Carlin Fournier & Kimstelle Merisma

Jim O'Brien & Jessica Gates

Anne Scurria, Kimstelle Merisma & Rodney Witherspoon

Jessica Gates & Tanya Martin

Rodney Witherspoon & Kimstelle Merisma

Tanya Martin, Matt Fraza and the cast of Girl from the North Country

Review: GIRL FROM THE NORTH COUNTRY at Wilbury Theatre Group

Sat, 30 May 2026 16:04:41 PST

The Wilbury Theatre Group wrapped up it's 2025-2026 season with Conor McPherson's Tony-nominated stylistic musical "Girl From The North Country".

Set in an a Depression-era Duluth, Minnesota boarding house in 1934, McPherson weaves a tale of multiple families lives converging together at the house, many carrying their deep-rooted secrets who are within hours of reaching a life-altering turning point that will forever change the course of their lives.

The ultra-talented Jim O'Brien plays Nick Laine, who is trying desperately to keep his floundering boarding house while tending to his mentally-ill wife Elizabeth, played by the incredible Trinity regular Anne Scurria, along with Carlin Fournier who plays the Laine's drunken son Gene and Kimstelle Merisma, who plays Nick's 5-month pregnant daughter Marianne, all three who are making their Wilbury debuts . "What The Constitution Means to Me" actor Ricky Waugh plays an incredible role as Mr. Burke, who along with his wife, Mrs. Burke played by Tanya Martin and mentally-challenged son Elias, played by Jon Mael, are dealing with a family business that has collapsed under the weight of the Great Depression. Look for Waugh's incredible drunken speech about the struggles of parenthood that is nothing short of magnificent.

In addition to wonderful prose, McPherson intermingles reimagined Bob Dylan songs throughout the musical, not as a buffer between scenes but as a way to also tell the story through each character. McPherson calls the move "emotional portraiture" where the songs aren't use to explain a plot point but instead are used for the character to get their story out via songs. Instead of the songs adding to the musical, they are a mechanism to continue the storytelling.

But the great part about the Dylan songs McPherson chosen is that many are not famous at all besides "Like A Rolling Stone", you'll hear others you may have never heard before like "Went to See the Gypsy", "Hurricane", "Slow Training Coming" and others, many of them that felt like they were written just for this production. Look for an incredible version of "Like a Rolling Stone" from the suddenly lucid Scurria, Fraza's "Slow Training Coming" and the entire cast's poignant version of "What Can I Do For You?"

While the story takes place during the Depression it could just as well have taken place now as we find common themes of depression, dealing with diabilities, loneliness, financial ruin and more. "Girl From North Country" is a striking musical that hits at the heart of the secrets we keep and why we keep them, a musical festival for our soul.

Other Wilbury debuts include Mael, as well as Jessica Gates who plays boarding house renter Mrs. Neilsen who has a deep thing for Nick, Philip Iredale as the bible salesman/preacher Reverend Marlowe, and a voice we could not get enough of-Carrie Tully who played Kate, who sang a haunting rendition of "I Want You" with Fournier.

Rounding out the incredible cast is Matt Fraza as Dr. Walker/narrator, Scott Levine as the 69-year-old widower Mr. Perry who is longing for companionship with the pregnant Marianne and the incredible voice of Rodney Witherspoon II as Joe Scott, a former boxer who comes to the boarding house one night after being released from prison for a crime he didn't commit. The production includes a number of other musicians but what's also cool about this production is that some of the actors also play musicians like Tully on piano.

With incredible acting and stunningly-precise music to move the plot along, "Girl From The North Country" is a rare musical gem that strikes a forever chord with young and old theatre-goers. This 2 hour and 15 minute production with one intermission will have a way of impacting you in ways you never saw coming as will the music, a wonderful sidetrack to our own lives and the secrets we too keep.

Broadway League Honors J.L. 'Lynn' Singleton with Distinguished Lifetime Service Award

Thu, 28 May 2026 22:16:18 PST

J.L. “Lynn” Singleton, President and CEO of Professional Facilities Management, Inc. (PFM), has been honored with The Broadway League's Distinguished Lifetime Service Award. Singleton was recognized during The Broadway League Awards Ceremony on May 20 in New York City. He previously received the Samuel J. L'Hommedieu Award for Outstanding Achievement in Presenter Management from The Broadway League in 2004.

Singleton transitioned from his role as President and CEO of the Providence Performing Arts Center (PPAC) on January 1, 2026, to focus exclusively on leading PFM, a subsidiary of PPAC specializing in venue management and booking. PFM currently manages nine venues nationwide, including The VETS in Providence, the Barbara B. Mann Performing Arts Hall in Fort Myers, and the Durham Performing Arts Center in Durham, North Carolina.

“On behalf of the PPAC and PFM staffs, we congratulate Lynn on this well-deserved recognition from The Broadway League,” said Alan J. Chille, President and CEO of PPAC. “His visionary leadership and his commitment to excellence helped transform PPAC into one of the most well-respected theatres in the nation and as one of the founders of PFM, his influence has extended to many other venues.”

Singleton became President and CEO of PPAC in 1983 and led the organization through decades of growth, transforming the theater from a struggling operation into one of North America's leading nonprofit performing arts venues. During his tenure, annual attendance grew to more than 350,000 patrons, and the theater underwent extensive restoration and expansion projects totaling more than $50 million.

Among his achievements was advocating for Rhode Island's expansion of film tax credits to support pre-Broadway and post-Broadway national tours. Since 2008, PPAC has launched 27 national tours, including productions of LEGALLY BLONDE: THE MUSICAL, LES MISÉRABLES, PRETTY WOMAN: THE MUSICAL, TINA - THE Tina Turner MUSICAL, and A BEAUTIFUL NOISE: THE Neil Diamond MUSICAL.

As a co-producer and investor through the Independent Presenter's Network and as a Tony Awards voter, PPAC has been associated with Tony Award-winning productions including MOULIN ROUGE! THE MUSICAL, THE BAND'S VISIT, KINKY BOOTS, ONCE, and DEAR EVAN HANSEN. Singleton also received an Emmy Award for Art Direction for A&E's presentation of PETER PAN starring Cathy Rigby.

The Distinguished Lifetime Service Award was accepted on Singleton's behalf by Janice Anderson, Director of Theatrical Programming at PPAC and PFM. In remarks shared at the ceremony, Singleton reflected on the evolution of the industry and emphasized the importance of ensuring a strong future for Broadway and touring theater. He also dedicated the recognition to colleagues Gary McAvay, Pat Halloran, and Larry Payton.

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.

LA BROA' EN TU BARRIO to Tour Rhode Island for Teatro en El Verano

Wed, 27 May 2026 20:21:21 PST

Teatro en El Verano, the summer touring theatrical partnership between Rhode Island Latino Arts and Trinity Repertory Company, has announced a new production of La Broa' (Broad Street) by Orlando Hernández, titled La Broa' en tu barrio (La Broa' in Your Neighborhood). La Broa' draws from the true tales of Latino/a Rhode Islanders who have made Rhode Island their home, as documented by oral historian Marta V. Martínez in her book “Nuestras Raíces (Our Roots).”

La Broa' made its world premiere at Trinity Rep in January 2024, receiving rave reviews and a near sold-out run. The new adaptation, La Broa' en tu barrio, will travel across the state Jul. 3 – Aug. 2, staging stories from Rhode Island's Latino community at the sites where they happened. Perhaps most significantly, the opening night performance will take place on La Broa', Broad Street, itself.

“As La Broa' returns to the community through Teatro en El Verano, it comes full circle,” Martínez said. “The play is not only performed for the neighborhood that inspired it—it belongs to it. It is a reminder that history lives in conversation, and that storytelling begins when someone takes the time to ask.”

Directed by Lorraine Guerra, the ensemble cast includes Leandro “Kufa” Castro, Jasson Deleon, Miosotis Ihelefeld Cruz, Anthony Maldonado, Ashley Soto, Andersson Tejada, Mariana Villa Jaramillo, and Dalizza Zuñiga-Rodríuez. The production features scenic design and stage management by Tiago Pereira, costume design by Aida Menacho, and sound design by Erin Grafing.

"As a Providence-born Latina, I am thrilled to be directing La Broa', a story that I have so much respect and love for,” Guerra said. “I grew up attending a church on Broad Street—some of my favorite childhood memories took place right there. I feel honored to be a part of a team sharing the stories of our families that made it to Providence, and the impact Latinos had on making Providence what it is today. Everyone working on this show is so talented, and through the work we're going to create, audience members will be able to see the joy and love Latinos have for their community."

PERFORMANCE SCHEDULE

Admission is free, and no registration is required. If desired, please bring your own chair and picnic blanket. All performances begin at 6:30 pm unless otherwise specified.

Friday, July 3 at Roger Williams Park (Broad Street Entrance), Providence
- Rain Date: Tuesday, July 7
Thursday, July 9 at La Galería del Pueblo, Central Falls
- Rain Date: Thursday, July 16
Tuesday, July 14 at Southside Cultural Center, Providence
Tuesday, July 21 at Payne Park, Pawtucket
- Rain Date: Thursday, July 23
Tuesday, July 28 at Great Friends Meeting House, Newport
Sunday, August 2 at Bomes Theater, Providence

ABOUT TEATRO EN EL VERANO

Teatro en el Verano was founded in 2016 by Rhode Island Latino Arts in association with Trinity Rep. It serves as a forum for local Latino artists to develop and present new bilingual English/Spanish plays. Our mission is to provide opportunities for artists, producers, and audiences to discuss and advance bilingual Latino theater in Rhode Island and nationwide.

ABOUT RHODE ISLAND LATINO ARTS

Rhode Island Latino Arts (RILA) is the state's oldest Latino arts and culture nonprofit organization that celebrates the art, history and heritage of Rhode Island Latinos. RILA is made up of a network of Latino arts organizations, individual artists, and projects and advocates for inclusion and the building of bridges between Latinos and non-Latinos. Since 1988, RILA has organized and promoted local activities around National Hispanic Heritage Month every year from September 15 - October 15. For more information, visit www.rilatinoarts.org.

Review: THE LION KING at Providence Performing Arts Center

Fri, 22 May 2026 15:58:18 PST

The Lion King swept the Tony Awards when it was on Broadway, and even for this semi-skeptical theatre reviewer, it’s easy to see why. It feels impossible to translate a cartoon about the lives of animals into a stage production performed by people, or at least, it seems like it will inevitably be kind of corny. This production, however, is completely unlike any other theatrical experience. It hews faithfully enough to the story to satisfy the super fans, but adds so many new elements that it’s astonishing and delightful to watch.

The show opens with the birth of baby lion cub Simba, future king of the Pride Lands, and the most famous song from the movie The Circle of Life. All the animals make the journey to see the future king, and this is when the audience starts to fully realize the scope of this production. The cast is massive, and various animals call to each other and journey toward the stage from all areas of PPAC. This powerful opening scene is almost overwhelming as you get to see so many stunning animal costumes all at once–including a massive elephant, streaming down the aisles of the theatre toward the stage, while Rafiki (Zama Magudulela) leads the song. Still photos can’t capture the excitement of the moment, and the feeling of immersion into this world makes the massive space of PPAC feel almost as intimate as a much smaller venue. The music was also more immersive than usual as the orchestra pit seemed slightly more open, and there were percussionists in the small balconies on either side of the stage.

The rest of the production follows the story and songs of the movie quite closely, but there are a few added scenes that create a feeling of place that grounds the story in its world beautifully. These extra touches, and the spectacular sets and costumes are what make this a production worth seeing. Since this show has been around and touring for nearly 20 years, people will be familiar with the costumes, but watching the actors work and move within the brilliantly-designed costumes (Julie Taymor) really brings this show to another level.

The lion masks hover slightly above the performers faces, but depending on the way the actor is standing, the mask can obscure their faces. Peter Hargrave’s performance as Scar was a standout of the night, in part because of the way he worked with the costume to sharpen his delivery, which created a masterful depth of character. Conversations between Scar and Mufasa were particularly effective as well, as the two actors would slip their masks down over their faces in heated moments which gives the impression of two lions snarling at each other. All of the performances were excellent and finely-honed, and the two youngest actors playing Nala (Journey Compas/ Marley Gomes) and Simba (Aaron Chao/ Josiah Watson) in Act I commanded the stage like seasoned professionals.

Despite the fact that this is an incredibly well-known story that one can easily watch several versions of from the comfort of their couch, this stage production is something incredibly special. It manages to do things on stage that this reviewer has never seen before, and all with physical sets. It’s always heartening to go to the theatre and see young people experiencing live performance for the first time, and this show will take even the most cynical tween and make them believe in the power of live performance.

Photo: Peter Hargrave as Scar and David D'Lancey Wilson as Mufasa. Photo by Evan Zimmerman

Photos: GIRL FROM THE NORTH COUNTRY to Make Rhode Island Premiere at Wilbury Theatre Group

Fri, 22 May 2026 14:42:21 PST

The production is directed by Josh Short with musical direction by Milly Massey and choreography by Ali Kenner Brodsky. The cast features Anne Scurria, Jim O'Brien, Kimstelle Merisma, Carlin Fournier, Jessica Gates, Matt Fraza, Tanya Martin, Ricky Waugh, Jon Mael, Rodney Witherspoon, Philip Iredale, Scott Levine, Carrie Tully, Hannah Devine, David Rabinow, Dave Carney, and Riley Ratcliffe with scenic design by Monica Shinn, sound and lighting design by Andy Russ, costume design by Niki Healy, and stage management by Allison Marchetti. The production runs May 28 - June 21, 2026.

It's 1934 in Duluth, Minnesota. We meet a group of wayward travelers whose lives intersect in a guesthouse filled with music, life, and hope. Written by celebrated playwright Conor McPherson and featuring Tony Award-winning orchestrations by Simon Hale, Girl From the North Country reimagines 20 legendary songs of Bob Dylan as they've never been heard before, including Forever Young, All Along The Watchtower, Hurricane, Slow Train Coming, and Like A Rolling Stone.

Anne Scurria, Riley Ratcliff, Dave Carney, Tanya Martin and David Rabinow

Jessica Gates, Carrie Tully & Tanya Martin

Choreographer Ali Kenner Brodsky, Rodney Witherspoon II, Matt Fraza, Jon Mael, Ricky Waugh, Scott Levine & Anne Scurria

Anne Scurria & Music Director Milly Massey

Matt Fraza & Anne Scurria

Jim O'Brien & Jessica Gates

Scott Levine, Ricky Waugh, Choreographer Ali Kenner Brodsky, Rodney Witherspoon II, Matt Fraza & Jessica Gates

Carlin Fournier, Jessica Gates & Scott Levine

Gamm Theatre's Annual Gala Raises $257,000 for Education Programs

Fri, 22 May 2026 05:08:39 PST

The Sandra Feinstein-Gamm Theatre (The Gamm) held its annual benefit on Thursday, May 14 celebrating the 20th anniversary of Gamm Education. In the elegant spaces of the Providence Public Library, the nonprofit theater raised $257,000 to both sustain and grow its education programs.

Gamm Gala 41: Beyond the Stage was a heartfelt retrospective of transformative education programs and a look forward to boundless opportunities. Guests enjoyed delicious food, a playful “school pictures selfie spot,” and entertainment by the North Kingstown High School Jazz Combo. The theater also recognized some of the individuals and institutions who have helped grow its education programs since its founding in 2006 and have served as partners in our more recent Gamm Fellowship Program.

Myrth York and the Otto H. York Foundation was honored with the David Wax Award for Outstanding Commitment to the Arts. The theater also paid tribute to William E. Tolman High School, Jaqueline M. Walsh School for the Arts, the University of Rhode Island, Community C ollege of Rhode Island, Rhode Island College, and The Levine Fund for Youth Access. These partnerships make it possible for The Gamm to provide education programs for K-12 students in Rhode Island and Southern Massachusetts, as well as recent college graduates, and our community at large.

"What a truly special and inspiring night we shared with the Gamm community of patrons, philanthropists, and friends. We were so proud to honor Myrth York and The Otto H. York Foundation for their generosity and the longevity and impact of the foundation's philanthropic support. We were humbled to pay tribute to key collaborators and partners in Gamm Education over the years. Their support has enabled our education programs to grow in ways we could not have imagined,” said Gamm Artistic Director Tony Estrella. “Education programming is foundational to our theater's mission and the most effective way The Gamm reaches beyond the stage. We all know that arts education is perennially underfunded. Without the generosity of individual and institutional funders, our theater could not serve the many young people and families who benefit from an arts education, and the educators who depend on The Gamm to help fill that critical gap."

Gamm Theatre's Annual Gala Raises $257,000 for Education Programs

Fri, 22 May 2026 05:08:39 PST

TWO STRANGERS (CARRY A CAKE ACROSS NEW YORK) to Launch North American Tour in Fall 2027

Thu, 21 May 2026 16:38:08 PST

Two Strangers (Carry a Cake Across New York) will launch a North American Tour in the fall of 2027. The tour will premiere at Providence Performing Arts Center in Providence, Rhode Island, before continuing onto cities across the U.S. and Canada. Additional tour stops and casting will be announced at a later date.

Two Strangers (Carry a Cake Across New York) received eight 2026 Tony Award nominations, including Best Musical, Best Book of a Musical (Jim Barne & Kit Buchan), Best Original Score (Jim Barne & Kit Buchan), Best Scenic Design of a Musical (Soutra Gilmour), Best Direction of a Musical (Tim Jackson), and Best Orchestrations (Lux Pyramid), as well as nominations for the two stars Sam Tutty (Best Leading Actor in a Musical) and Christiani Pitts (Best Leading Actress in a Musical).

Sam Tutty and Christiani Pitts

Written and composed by two-time 2026 Tony Award nominees Jim Barne and Kit Buchan and directed and choreographed by 2026 Tony Award nominee Tim Jackson (Merrily We Roll Along), the musical opened at Broadway’s Longacre Theatre on November 20, 2025, where it continues to play. Read the reviews for the production HERE!

Two Strangers (Carry a Cake Across New York) follows Dougal, an endlessly optimistic Brit visiting New York City for the wedding of the father he’s never met, and Robin, the bride’s sharp, no-nonsense sister. As they journey across the city, their differing perspectives give way to something unexpected. Bursting with laughter, escapism, and charm, this original musical is both a love letter to New York and a celebration of the joy in human connection.

The creative team includes Associate Director and Choreographer Asmeret Ghebremichael, Scenic and Costume Design by 2026 Tony Award nominee Soutra Gilmour (Sunset Boulevard, & Juliet), Lighting Design by Tony Award winner Jack Knowles (Sunset Boulevard), Sound Design by Olivier Award winner Tony Gayle (My Neighbour Totoro), Orchestrations by 2026 Tony Award nominee Lux Pyramid (collaborations with Suki Waterhouse, Rita Ora, and more), Music Supervision by Nick Finlow (Back to the Future, The Book of Mormon), Music Direction by Ted Arthur (Back to the Future, The Prom), and Casting by C12 Casting (Gutenberg, & Juliet).

Two Strangers (Carry a Cake Across New York) first opened in the UK with a sold-out run in November 2023, produced by the Kiln Theatre, before transferring to the West End’s Criterion Theatre for an extended engagement from April 4 to August 31, 2024. The North American premiere was at the American Repertory Theater at Harvard University from May 20 to July 13, 2025.

Arts Alive! to Launch Summer Musical Theatre Intensives for Rhode Island Teens

Wed, 20 May 2026 09:23:12 PST

This summer, Arts Alive! will offer two specialized Musical Theatre Intensives designed for dedicated teen performers looking to strengthen their audition skills, improve performance technique, and gain a competitive edge for lead roles, college auditions, and major musical theatre opportunities.

Open to students entering grades 8 through college freshman year from across Rhode Island, these focused training programs will take place in Barrington and will be led by acclaimed theatre educators and industry professionals Jenna Tremblay-Reilly and Laura Jenkins.

With auditions becoming increasingly competitive for school productions, pre-professional programs, Ocean State Star Awards, the Jimmy Awards, and college musical theatre programs, these intensives are designed to help young performers become stronger, more confident, and more polished artists in both dance and vocal performance.

AUDITION READY: Musical Theatre Dance Intensive

Led by director/choreographer Jenna Tremblay-Reilly, this high-energy dance intensive is designed specifically for musical theatre performers who want to improve technique, performance quality, and audition readiness. Students will focus on musical theatre dance styles commonly seen in auditions and productions while building confidence, storytelling ability, and Stage Presence.

The program is ideal for students preparing for:

School and community theatre auditions
Ocean State Star Awards
College musical theatre programs
Summer intensives and pre-professional opportunities
Lead and featured roles in productions

The Complete Musical Theatre Singing Audition Intensive

Led by musical director and voice instructor Laura Jenkins alongside Jenna Tremblay-Reilly, this six-week vocal intensive focuses on the complete musical theatre performer through vocal training, acting through song, storytelling, audition preparation, and performance coaching.

Students will develop:

Healthy vocal technique and breath support
Acting and emotional connection through song
Audition confidence and Stage Presence
Musicality, tone, and storytelling skills
Musical theatre repertoire and audition preparation

Both intensives are intentionally designed as small-group training experiences to allow for individualized coaching and focused instruction.

"These programs are for students who are serious about growing as performers," said Arts Alive! Artistic Director Dena Davis. "Whether a student is preparing for Ocean State Star Awards, college auditions, or simply wants to walk into auditions feeling stronger and more confident, these intensives are designed to help young artists stand out and reach the next level."

Programs will be held at Arts Alive! at St. John's Episcopal Church Hall in Barrington, RI, and are open to teen performers from communities throughout Rhode Island and southeastern Massachusetts.

Because enrollment is limited, early registration is strongly encouraged.

For schedules, tuition information, and registration details, visit:
Arts Alive!

Disney Musicals in Schools Students to Take the Stage at PPAC

Wed, 20 May 2026 05:52:06 PST

The Providence Performing Arts Center is among 21 arts organizations in the world collaborating with Disney Musicals in Schools. Providence, RI - On Wednesday, June 10, 2026, more than 140 elementary and middle school students from Coventry, Cranston, Pawtucket, and Providence will have the extraordinary opportunity to sing and dance on stage at the Providence Performing Arts Center (PPAC) as the result of a grant awarded to PPAC by Disney.

The grant from Disney enables PPAC to offer the Disney Musicals in Schools program to schools in Central Falls, Coventry, Cranston, Cumberland, East Providence, North Providence, Pawtucket, Providence, Warwick, West Warwick, and Woonsocket. The program is designed to create sustainable theater programs in public elementary and middle schools. Through the program, participating schools produce a Disney KIDS or Disney JR. musical in their school community and join in a culminating performance at PPAC.

Participating Schools:

Achievement First Iluminar Mayoral Academy Elementary School – Cranston
Governor Christopher DelSesto Middle School – Providence
Joseph Jenks Middle School – Pawtucket
Tiogue Elementary School – Coventry
Veazie Street Elementary School – Providence

The selected elementary schools participated in a 17-week musical theater residency, while the selected middle schools participated in a 22-week musical theater residency. All residencies were led by a team of teaching artists trained by PPAC and Disney Theatrical Group and were provided at no cost to the schools.

Each participating school received performance rights, educational support materials and guidance from the teaching artists. The program featured a professional development focus, through which participating school teachers partnered with PPAC teaching artists to learn how to produce, direct, choreograph and music direct a show, culminating in their first 30-minute Disney KIDS or 60-minute Disney JR. musical at their school. Elementary school students staged Aladdin KIDS at Achievement First Iluminar Mayoral Academy Elementary School in Cranston, The Lion King KIDS at Tiogue Elementary School in Coventry and Finding Nemo KIDS at Veazie Street Elementary Schol in Providence. Middle school productions included Alice in Wonderland JR. at Governor Christopher DelSesto Middle School and Aladdin JR. at Joseph Jenks Middle School.

The Disney Musicals in Schools Student Share Celebration on June 10th is the culmination of this year's program. Each school will perform a selection from their chosen Disney KIDS or Disney JR. musical to celebrate the students' and teachers' hard work and dedication.

Disney Musicals in Schools Students to Take the Stage at PPAC

Wed, 20 May 2026 05:52:06 PST

Participating Schools:

Achievement First Iluminar Mayoral Academy Elementary School – Cranston
Governor Christopher DelSesto Middle School – Providence
Joseph Jenks Middle School – Pawtucket
Tiogue Elementary School – Coventry
Veazie Street Elementary School – Providence

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

LITTLE SHOP OF HORRORS Will Open 93rd Season at Theatre By The Sea

Tue, 19 May 2026 05:15:30 PST

In celebration of 93 Years of Theatre By The Sea, owner and producer Bill Hanney has announced the opening of the 2026 Summer Season. The season begins with one of the most popular musicals of all time, Little Shop of Horrors. This funny and touching creature-feature will be presented from May 28 – June 20, 2026.

“Having always been a fan of the movies, I was aware of Little Shop of Horrors from a very early age,” said Bill Hanney. “It began as a black and white film, which was then transformed into a stage musical and a few years later a film adaptation of the musical was made starring Rock Moranis, Ellen Greene, who originated the role of Audrey on stage, and Steve Martin, who played the sadistic dentist. I love every version of Little Shop and completely understand why it has always been so popular!”

The hysterically campy and delightfully dark modern classic Little Shop of Horrors is a deviously delicious Broadway and Hollywood sci-fi smash musical which has devoured the hearts of theatregoers for decades. The story follows hapless floral assistant Seymour Krelborn who pines for his coworker Audrey, a Skid Row girl, who's always dreamed of a life that is something more. When he stumbles upon a strange seedling, he nurses it to life, only to find it growing into a carnivorous plant with some devilish intents. Little Shop of Horrors, with book and lyrics by Howard Ashman and music by Alan Menken, is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI.

Directed and choreographed by the husband-and-wife team of Bob Richard and Diane Laurenson, who return to TBTS having previously directed and choreographed Footloose, Chicago, Beauty and the Beast, and West Side Story, with musical direction by Milton Granger, who music directed TBTS productions of 42nd Street, Jersey Boys, My Way, Singin' in the Rain, CATS, Mary Poppins, and My Fair Lady, the cast includes Deon Releford-Lee, who portrayed the role of Ike in the Broadway production of TINA – the Tina Turner Musical and appeared as a Drifter in the Broadway National Tour of Beautiful: The Carole King Musical, and Anna Telfer, who was on the National Tour of How the Grinch Stole Christmas. Mr. Releford-Lee and Ms. Telfer are both making their TBTS stage debuts in the roles of Seymour Krelborn and Audrey. The role of Mr. Mushnik is being played by Fred Sullivan, Jr, who most recently appeared in TBTS productions of Heartbreak Hotel, Hairspray and Tootsie. Justin Michael Duval, who appeared on the First National Tour of Girl From the North Country and has also toured with Dreamgirls, Jekyll & Hyde, and Happy Days, makes his Theatre By The Sea debut in the role of Orin Scrivello. Jaelle Laguerre, whose favorite credits include Annie, (National Tour) Six, Cinderella, A Christmas Carol, and The Buddy Holly Story will be the voice of Audrey II, and the urchins, Crystal, Ronnette, and Chiffon, will be played by Adeera Laini Harris, Myriam Zamy and Charity Willams. Rounding out the cast are Mia Angelique, Julia Bibeault, Jack Ducat, Dean Hernandez, Jordan Okeke, and Andy McLeavey.

The creative team includes resident scenic designer Cassie McKnight; lighting designer Weston Wilkerson; sound designer Chad Parsley; puppet designer Martin P. Robinson; wig, hair and makeup design by Erin Kennedy Lunsford; costumes by Maine State Costume Rentals, with additional costumes provided by North Shore Music Theatre; along with Nick Alteri (Production Stage Manager); and Rahxas Colite (Assistant Stage Manager). Little Shop of Horrors is being produced for Theatre By The Sea by Bill Hanney (Owner/Producer), Kevin P. Hill (Producing Artistic Director), and Bob Richard (Associate Producer).

Little Shop of Horrors will be presented from May 28–June 20, with preview performances on May 28 and opening night scheduled for May 29. Performances are scheduled for Tuesday and Wednesday evenings at 7:30 pm, Thursday through Saturday evenings at 8:00 pm, Thursdays and Saturdays at 2:00 pm, and Sundays at 5:00 pm, with special performance times on Sunday, May 31 at 2:00 & 7:00 pm and a special added Wednesday matinee on June 17. The theatre is located at 364 Cards Pond Road, Wakefield. Tickets for preview performances, Thursday, May 29 are $64, and $66 - $96 for all other performances (additional fees may apply). Discount rates are available for groups of 10 or more by calling (401) 782-3800 x112. Tickets are on sale at the box office Monday through Saturday from 11:00 am – 5:00 pm and performance days from 11:00 am until curtain.

LITTLE SHOP OF HORRORS Will Open 93rd Season at Theatre By The Sea

Tue, 19 May 2026 05:15:30 PST

OCEAN STATE IMPROV FESTIVAL Returns With 37 Troupes From 13 States

Mon, 18 May 2026 20:34:10 PST

The Ocean State Improv Festival, now in its 8th wildly entertaining year, will return to The Contemporary Theater Company in Wakefield, Rhode Island June 3–7, 2026, bringing together some of the best improvisers in the country for five days of performances, workshops, and more.

Thirty-seven troupes from thirteen states performing and every single moment is made up on the spot.

The Contemporary Theater Company invites comedy lovers, theater enthusiasts, and anyone curious to come experience what happens when incredibly talented performers walk onstage with nothing but each other and their wits. It's hilarious, surprising, moving, and unlike anything else you'll see this summer.

This year's lineup is stacked with returning fan favorites and exciting newcomers. Juliet & Juliet — a duo who have performed at every single OSIF since the festival launched in 2017 — are back to deliver their jaw-dropping improvised Shakespeare. Magical Lying Hour returns with its delightfully unhinged premise: one actor has a script memorized, and the other is making up every single line. Hell Yeah! from New York City brings their renowned improvised musicals, and But of Mind performs their eerie, captivating take on improvised Twilight Zone. New to the festival this year, Trash Can Orchestra from Seattle takes inspiration from STOMP and the Blue Man Group, turning household objects into percussion instruments and pure theatrical joy.

"OSIF is one of my favorite festivals worldwide," says Ross Flores, returning this year with his groups The Manny Rodriguez Show and Create the Sound. "Inclusive community, Great Performances from all over the country, hilarious mixer/bit shows, engaging workshops, and tasty ice cream across the street — all with the beach nearby. Whether you do improv or not, if you're in the Northeast or have some extra miles to spare: make the trip!"

The fun runs Wednesday through Saturday night, with shows on Wednesday at 7 pm & 9:30 pm, Thursday at 5 pm, 7 pm, and 9:30 pm, Friday at 5 pm, 7 pm, 9:30, and 11 pm, and Saturday at 2 pm, 5 pm, 7 pm, 9:30 pm, and 11 pm.

But if there's one thing not to miss, it's the mixer shows at 9:30 pm Thursday through Saturday — Pirate Improv, Micetro, and Theatresports — where performers who have never shared a stage together are thrown into the deep end and catching lightning in a bottle.

The festival wraps up Sunday afternoon with the free Duo Bracket Challenge on the CTC's outdoor patio at 1:30 pm: 16 brand-new duos go head to head with 2 minutes onstage. The only rule? The two performers cannot have performed together before this festival. It's one part show, one part send-off party, and one hundred percent chaos in the best possible way.

For those who want to do more than watch, the festival offers over a dozen workshops Thursday through Sunday from teachers who really know their stuff. Want to improvise with puppets? Learn to find courage onstage? Make your scenes feel like a big-budget action film? Tap into your deepest emotions? Tackle death and dying with grace? Play an inanimate object with complete sincerity? There's a workshop for all of that and more. Take nine or more hours of workshops and you'll earn a free All-Access Festival Pass — which, frankly, is a great deal and an even better weekend.

The festival is easy to get to from anywhere in the Northeast — 20 minutes off I-95, accessible by Amtrak and commuter rail, and just a half hour from Providence's T.F. Green Airport. Once you're in Wakefield, the beach is nearby, ice cream is across the street, and the company is excellent.

Tickets are available now with flexible pricing so everyone can join the fun. For individual show tickets, you can choose your price from $10 - $45. Day Passes are $40 for Wednesday/Thursday and $60 for Friday/Saturday. All-Access Festival Passes — which include a festival t-shirt and admission to every single show — are $160.

"I've never heard anyone complain that they came to too many shows," says Maggie Cady, General Manager at the theater. "I've only had people tell me how they regret only coming for one show. So I recommend going for it — get some day passes, or better yet a full festival pass, and sit back and enjoy the ride."

For the full schedule, workshop descriptions, ticketing, and travel information, visit www.contemporarytheatercompany.com/ocean-state-improv-festival or call the box office at (401) 218-0282.

LISTINGS

INTO THE WOODS

Music and lyrics by Stephen Sondheim, Book by James Lapine

Previews Jun 26 - Jun 27, 2026

Fridays and Saturdays at 7pm, Jul 3 - Jul 25, 2026

Sundays at 2pm, Jul 12, Jul 19, 2026

Once upon a time, in a far-off kingdom… wishes are made, bargains are struck, and someone loses a slipper. A baker and his wife set out to reverse a curse, while Cinderella, Jack, Rapunzel, and Little Red chase their own dreams to find their happy endings. But wishes come true, not free. This witty, poignant, and unforgettable musical with Stephen Sondheim's gorgeous score reveals what lies beyond “happily ever after.”

Tickets: $35 (Choose your price between $10-$45)

Box Office: 401-218-0282, Website: http://contemporarytheatercompany.com, Email: info@thecontemporarytheater.com, The Contemporary Theater Company, 327 Main Street, Wakefield, RI 02879

SHAKESPEARE ON THE SAUGATUCKET: LOVE'S LABOURS LOST

By William Shakespeare

Previews Jul 8 & Jul 12, 2026

Wednesdays and Sundays at 7 pm, Jul 15 - Aug 2, 2026

Friday and Saturday at 7 pm, Jul 31 and Aug 1, 2026

Shakespeare on the Saugatucket returns for another summer with the Bard in the gardens and under the stars. In Love's Labour's Lost, the King of Navarre and his friends forswear all romance—until the Princess of France arrives and turns their plans upside down. Full of witty wordplay, disguises, and laughter, this comedy sparkles on our beautiful riverfront patio.

Tickets: $35 (Choose your price between $10-$45)

Box Office: 401-218-0282, Website: http://contemporarytheatercompany.com, Email: info@thecontemporarytheater.com, The Contemporary Theater Company Riverfront Performance Patio, 321 Main Street, Wakefield, RI 02879

THE IMPORTANCE OF BEING EARNEST

By Oscar Wilde

Previews Aug 7 - Aug 8, 2026

Fridays and Saturdays at 7 pm, Aug 14 - Sep 12

Sunday at 2 pm, Sept 6

(No Shows Aug 28 - Aug 29)

Two young bachelors invent alter egos to escape social obligations, only to have their romantic schemes hilariously unravel. Overflowing with sharp wit and outrageous twists, The Importance of Being Earnest is a delightful romp that proves the truth is rarely as entertaining as a good lie.

Tickets: $35 (Choose your price between $10-$45)

Box Office: 401-218-0282, Website: http://contemporarytheatercompany.com, Email: info@thecontemporarytheater.com, The Contemporary Theater Company, 327 Main Street, Wakefield, RI 02879

OCEAN STATE RENAISSANCE FAIRE

Aug 22-24

Hark! Rhode Island's one-and-only Renaissance Faire doth commence with Friday's Revels on the River at the Contemporary Theater Company, where merriment, music, drink, and secret delights await. Come the weekend, the Faire shall be in full splendor with pirates, swordplay, wares of fine makers, hearty feasting, contests of costume and wit, and revels fit for all good folk!

Tickets: Saturday or Sunday Day Pass: $15 for anyone 10 or older (under 10 is free!), Friday Revels on the River: $40 or $65 VIP

Box Office: 401-218-0282, Website: http://contemporarytheatercompany.com, Email: info@thecontemporarytheater.com, The Contemporary Theater Company, 327 Main Street & Saugatucket Park, 110 High St, Wakefield, RI 02879

OCEAN STATE IMPROV FESTIVAL Returns With 37 Troupes From 13 States

Mon, 18 May 2026 20:34:10 PST

Thirty-seven troupes from thirteen states performing and every single moment is made up on the spot.

For the full schedule, workshop descriptions, ticketing, and travel information, visit www.contemporarytheatercompany.com/ocean-state-improv-festival or call the box office at (401) 218-0282.

LISTINGS

INTO THE WOODS

Music and lyrics by Stephen Sondheim, Book by James Lapine

Previews Jun 26 - Jun 27, 2026

Fridays and Saturdays at 7pm, Jul 3 - Jul 25, 2026

Sundays at 2pm, Jul 12, Jul 19, 2026

Tickets: $35 (Choose your price between $10-$45)

Box Office: 401-218-0282, Website: http://contemporarytheatercompany.com, Email: info@thecontemporarytheater.com, The Contemporary Theater Company, 327 Main Street, Wakefield, RI 02879

SHAKESPEARE ON THE SAUGATUCKET: LOVE'S LABOURS LOST

By William Shakespeare

Previews Jul 8 & Jul 12, 2026

Wednesdays and Sundays at 7 pm, Jul 15 - Aug 2, 2026

Friday and Saturday at 7 pm, Jul 31 and Aug 1, 2026

Tickets: $35 (Choose your price between $10-$45)

THE IMPORTANCE OF BEING EARNEST

By Oscar Wilde

Previews Aug 7 - Aug 8, 2026

Fridays and Saturdays at 7 pm, Aug 14 - Sep 12

Sunday at 2 pm, Sept 6

(No Shows Aug 28 - Aug 29)

Tickets: $35 (Choose your price between $10-$45)

Box Office: 401-218-0282, Website: http://contemporarytheatercompany.com, Email: info@thecontemporarytheater.com, The Contemporary Theater Company, 327 Main Street, Wakefield, RI 02879

OCEAN STATE RENAISSANCE FAIRE

Aug 22-24

Tickets: Saturday or Sunday Day Pass: $15 for anyone 10 or older (under 10 is free!), Friday Revels on the River: $40 or $65 VIP

DEATHTRAP, WHITE CHRISTMAS and More Set for Little Theatre Of Fall River 2026/27 Season

Mon, 18 May 2026 12:52:34 PST

Little Theatre of Fall River has unveiled their 93rd Season. The 93rd Season will run from October 2026 - August 2027 at Little Theatre's Firebarn located at 340 Prospect St. Fall River, MA. The season includes the following 6 productions:

Deathtrap

by Ira Levin
Directed by David Faria
October 15-25, 2026

In this house the only thing sharper than wit is the knife.
Seemingly comfortable in his charming Connecticut home, Sidney Bruhl, a successful writer of Broadway thrillers, is struggling to overcome a string of recent failures and a shortage of funds. When a student in his writing seminar sends him a new script - a thriller that Sidney recognizes immediately as a potential Broadway hit - Sidney sees an opportunity. With his wife's help, he devises a plan to "collaborate" with the student, an idea which the younger man quickly accepts. Suspense mounts steadily as the plot begins to twist and turn with devilish cleverness that builds to a startling finale.

Irving Belin's White Christmas

Music and Lyrics by Irving Berlin
Book by David Ives and Paul Blake
Directed by Heather Gaffney-Hsu and David Allen Jeffrey
December 3-13, 2026

The best things happen when it snows.
Based on the beloved Paramount Pictures film, this story follows veterans Bob Wallace and Phil Davis, who find success as a song-and-dance act after World War II. Hoping for romance, they follow a pair of singing sisters en route to their Christmas show at a Vermont lodge - only to discover it is owned by their former army commander, General Henry Waverly.

The Secret Garden

Book and Lyrics by Marsha Norman
Music by Lisa Simon
Directed by Aaron Gendreau-Visco
February 4-14, 2027

A garden is forgotten, but a family is found.
Orphaned in India, 11-year-old Mary Lennox returns to Yorkshire to live with her embittered, reclusive uncle Archibald and his disabled son Colin. The estate's many wonders include a magic garden which beckons the children with haunting melodies and the "Dreamers," spirits from Mary's past who guide her through her new life, dramatizing The Secret Garden's compelling tale of forgiveness and renewal.

Plaza Suite

By Neil Simon
Directed by Ryan Durkay
April 15-25, 2027

Imagine if these walls could talk.
Plaza Suite is a sparkling romantic comedy told in three wildly entertaining acts-all unfolding in the same room (719) at New York City's legendary Plaza Hotel. Each act introduces a different couple at a different crossroads in love, from longtime marriages on the rocks to pre-wedding panic at its peak.

With sharp wit and deliciously chaotic situations, the play dives into the ups and downs of relationships-infidelity, nostalgia, boredom, and everything in between. As each couple wrestles with their own hilarious and heartfelt dilemmas, Plaza Suite reveals just how unpredictable love can be at every stage of life.

Love, Valour, and Compassion!

By Terrence McNally
Directed by David Allen Jeffrey
June 17-27, 2027

Three Summer Weekends, 8 Men, and one endless friendship.
Winner of the 1995 Tony Award for Best Play and hailed by many critics as Terrence McNally's finest play, Love! Valour! Compassion! centers around eight gay men who gather at the upstate New York home of celebrated dancer and choreographer Gregory Mitchell. Over the course of three holiday weekends, the men confront and analyze their lives, relationships, and friendships in a moving and hilarious exploration into love and loss in 90s America. As infidelity, AIDS, romance, and death infiltrate their friendship group, the men must decide who and what is most important when reality hits home. 

Finding Neverland

Music by Gary Barlow and Eliot Kennedy
Book by James Graham
Directed by Heather Gaffney-Hsu
August 5 - 15, 2027

Discover the magic behind the legend.
Finding Neverland is based on the Academy Award-winning motion picture of the same name and the play The Man Who Was Peter Pan. It tells the story of playwright J.M. Barrie and the family that inspired Peter Pan. Struggling with his work, Barrie meets a widowed mother, Sylvia Llewelyn Davies and her four sons in Kensington Park. As he befriends the family, their imaginative adventures reignite his creativity. He is particularly affected by Peter, who is reluctant to play due to his grief. Helping Peter to rediscover the joy of play, Barrie is inspired to create a new art form: children's theatre. But who will pay to see a play about children? Who will play these characters? And how will they make Peter Pan fly?

Review: A searing MEASURE FOR MEASURE at Burbage Theatre Co

Mon, 18 May 2026 12:18:18 PST

Burbage Theatre Co concludes its 14th season with William Shakespeare's "problem play" Measure for Measure, and this production shows how to take on the text's problems head-on. What emerges over two and a half hours is a Measure for Measure that treats the play as neither salvageable comedy nor failed tragedy but as something stranger and more contemporary: a study of surveillance, sexual coercion, and managed crisis that turns out to be uncomfortably relevant in 2026. It is the first professional production of the play in Rhode Island in more than three decades, and it is worth the wait.

The plot, briefly: Duke Vincentio announces plans to leave Vienna and hands power to Angelo, who immediately revives a dormant fornication law and sentences Claudio to death for impregnating his betrothed, Juliet. Claudio’s sister Isabella, about to enter a convent, pleads for mercy; Angelo offers her a bargain — her body for her brother's life — which she refuses. Meanwhile, the Duke has remained in Vienna disguised as a friar, gathering intelligence and arranging the substitutions that will expose Angelo. The play ends in a public trial, with forced marriages and pardons dispensed in roughly equal measure. The final beat is one of the most contested silences in Shakespeare, and audiences who do not know how it lands should discover it in the room.

Church stages the show traverse, with the audience seated on two sides of a rectangular playing lane, constantly seeing other audience members seeing. For a play so invested in observation, it is a perfect choice, and Trevor Elliott’s design sharpens the point: mirrors flank a central door on one wall, projections by Grey Rung haunt the brick opposite, and a simple stool becomes both the Duke’s throne and, with bars added, Claudio’s prison. The doubling is the production’s thesis in a single object: power and incarceration occupy the same seat. EJ Caraveo’s mid-century costumes and Church’s jazz-age soundscape complete a Vienna caught between appetite and control. The opening sequence establishes the setting with jitterbugging panache and remarkable economy.

Alison Russo's Isabella is the production's center of gravity, a study in religious composure stretched to its breaking point. Russo plays the early scenes with a near-monastic reserve — voice level, hands folded, certainty radiating outward — and then lets that composure crack inward, scene by scene. It is a performance of remarkable specificity, the kind that requires real Shakespearean discipline, and it builds toward a final image that will be argued about long after the run ends.

Mauro Hantman, making his Burbage debut after a quarter-century of leading roles at Trinity Rep, gives an Angelo whose collapse is genuinely earned. The hinge moment — Angelo's discovery of his own hypocrisy — is handled with admirable subtlety; Hantman lets the recognition arrive in stages, almost as a man watching himself from a distance and not liking what he sees. "Is this her fault or mine?" is delivered without performative agony, which makes the lines land harder. The whole performance is a portrait of self-knowledge arriving too late to be useful.

Steven Liebhauser's Vincentio is the production's most demanding performance, because the Duke has to remain genuinely likable while doing things that, on reflection, are really not likable at all. Liebhauser solves the problem through affability — a warm, slightly rumpled presence that makes the friar's confessional manipulations feel almost paternal. The audience laughs with him for most of the evening. And then, in the trial scene, the laughter stops; on the night I attended, the audience gasped audibly at a single line. That gasp is the achievement of the performance.

A standout in a smaller role: Julia Curtin, making her Burbage debut as the Provost (a jailer). The role is structurally pivotal — the Provost is the play's only morally unconflicted official, the one functionary who actually questions Angelo's orders — but it is easy to play as administrative and functional. Not Curtin. She brings physical energy and rhythmic precision to every scene she enters, and her quiet resistance to Angelo's death warrant carries genuine moral weight. It is the kind of performance that makes you check the program afterward to find out who that was.

The supporting ensemble is strong throughout. Victor Machado gives Claudio an earnest desperation that deepens the prison scene with Isabella, and Michaela Pendola-Machado makes Juliet’s brief stage time count. Andrew Stigler’s Escalus is a functionary with doubts flickering beneath the surface; Liam Roberts’ Lucio is a sleazy court hanger-on whose comeuppance cannot arrive soon enough. Rosa Nguyen’s Mariana is pivotal, and she makes her long-suppressed grief and longing felt.

One choice baffles in an otherwise carefully calibrated production. Church and Caraveo present Andrew David Scanlan’s Abhorson the executioner as a near-quotation of Death from Bill & Ted’s Excellent Adventure — white face paint, black robes, squeaky Monty-Python delivery on every line. The audience laughed, but nervously. Abhorson is a small role, but a load-bearing one: he is the human face of the machinery Angelo has set in motion. Played as a sketch-comedy ghoul, he sits outside the production’s otherwise coherent argument about surveillance, mortality, and the state’s claim on the body.

Measure for Measure is the urtext of paranoid administration, a play in which the man at the top stages the crisis he then arrives to resolve. Church’s production understands that the Duke is not merely a comic manipulator but a ruler who turns confession into intelligence-gathering and mercy into discipline. The final tableau clinches it — a perfect staging that I will not describe, because it deserves to land in the room. Four centuries before the surveillance state had a name, Shakespeare had already sketched its operating manual. And at the Burbage, we are the Vienna being measured.

Highly recommended. This is what serious Shakespeare looks like in a small room with a sharp company and a director willing to trust the play's intelligence. Go in cold if you can. Don't miss it.

Measure for Measure, by William Shakespeare, directed by Jeff Church. Through June 7 at Burbage Theatre Co, 59 Blackstone Ave, Pawtucket. Tickets $35/$15 student, available at https://www.burbagetheatre.org/measure

Photo credit: Jesse Dufault

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