BroadwayWorld.com San Diego Stories

Cast and Creative Team Set for ARCADIA at Cygnet Theatre

Thu, 11 Jun 2026 17:56:15 PST

Cygnet Theatre will present Arcadia by Tom Stoppard. Directed by Sean Murray, the show will run from July 15 to August 9, 2026 and will be produced in the Dottie Studio Theater.

Time folds in on itself in this thought-provoking drama, where past and present collide inside a single country estate. In 1809, a young prodigy dazzles her tutor with bold ideas about desire and the hidden patterns of the universe. Two centuries later, modern scholars descend on the same house, each chasing a different historical puzzle. As their investigations intertwine, discoveries in one era echo into the other. The result is a funny and deeply human exploration of truth and time.

Widely considered one of the greatest playwrights of the modern era, Tom Stoppard was known for writing plays that were both brilliantly smart and deeply human. His work blended humor, science, philosophy, romance, and sharp dialogue. Following his passing in late 2025 at the age of 88, productions of his work around the world have taken on added meaning. Often called his masterpiece, Arcadia remains one of theatre’s most thrilling and rewarding plays.

Murray, who directed the work for Cygnet in 2007 says, "It excites me to be working on Arcadia again. It's been almost twenty years since I had the opportunity to bring this amazing show to our stage before. It's the kind of piece of theatre that continues to inspire, reveal, and illuminate. A play this funny, sexy, stimulating, romantic and vast allows us a full evening of mind expanding joy. I can't wait to get into its delights with this cast. It's one of a kind."

The cast features Richard Baird as Bernard Nightingale, Manny Fernandes as Richard Noakes, Marti Gobel as Hannah Jarvis, Harper Haden as Thomasina Coverly, Luca Hansen as Gus/Augustus Coverly, Fred Harlow as Ezra Chater, Byron LaDue as Jellaby, Melanie Lora as Lady Croom, Corydon Melgoza as Septimus Hodge, Paul Morgavo as Captain Brice, Emily Nightingale as Chloë Coverly, and Tanner Vydos as Valentine Coverly.

The creative team includes Heather Larsen, Scenic Design; Chris Rynne, Lighting Design; George Yé, Sound Design; Elizsa Benzoni, Costume Design; Peter Herman, Wig and Makeup Design; Bonnie Durben Props Design; Vanessa Dinning, Dialect Consultant; Mars Lorens, Stage Manager; and Brian Salvanera, Assistant Stage Manager.

Interview: Wyatt Van Hazel of THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE at Oceanside Theatre Company

Thu, 11 Jun 2026 17:47:25 PST

Every spelling bee has that one contestant who seems to be operating on a completely different wavelength. In “The 25th Annual Putnam County Spelling Bee” at Oceanside Theatre Company, that contestant is Leaf Coneybear: endlessly enthusiastic, wonderfully imaginative, and often just one distraction away from wandering into his own world.

Wyatt Van Hazel returns to OTC after appearing as Otto in “Spring Awakening”, this time through the company's STAGES Apprenticeship Program. Currently studying theatre at MiraCosta College, Van Hazel has quickly become a familiar face on local stages. We spoke with him about creating his version of Leaf, learning through STAGES, and why joy is at the heart of this production.

Leaf Coneybear is one of musical theatre's most beloved oddballs, requiring a lot of physical comedy and childlike energy. How did you develop your version of Leaf?

When I was cast as Leaf Coneybear, I was overwhelmed with trying to figure out who this person is. I decided I didn’t want to regurgitate an impression of the genius, Jesse Tyler Ferguson (the original Leaf Coneybear.) I wanted to grow my own Leaf. I spent a lot of time figuring out where Leaf came from, how excited he is to be here, and how he perceives life. He is sporadic and fun. Everything is fascinating to him; he appreciates almost everything about life. He gets lost in his imagination frequently. I spent a lot of rehearsals figuring out how Leaf would exist in the space and how he interacts with the people around him by testing out different things every rehearsal. I figured out that Leaf and I have quite a lot of similarities. He’s just the purest version of joy. The most important part of developing this character was just jumping all the way in and trusting I could be this person because Leaf Coneybear would be himself with no fear and no hesitation, so I just had to do that too.

For readers who may not be familiar with it, how has the STAGES Apprenticeship Program helped bridge the gap between college training and professional theatre?

The STAGES Apprenticeship Program helps students like me meet and work with people who are more experienced by making certain roles accessible only to students. Without this apprenticeship, I probably wouldn’t have gotten the chance to work with Melissa Glasgow (our director), and I wouldn’t have been able to learn everything I did from her without it. She offered so much important information and wisdom that she has gained from her personal experience working in this industry.

You previously appeared at OTC in Spring Awakening and are now returning through the STAGES Apprenticeship Program. What has it been like coming back to the company in this new role?

It has been fantastic to come back to the company. "Spring Awakening" was truly so fun. I made so many friends, and I have even been getting recognized for being in the show, which is also a good reason for the STAGES Apprenticeship. Coming back to do "Spelling Bee" has just been a big fun joyride all over again, even more so, considering "Spring Awakening" dealt with some pretty heavy topics, but this show is just pure fun.

What do you hope audiences take away from this show as they leave the theatre, aside from being able to spell "capybara" and "Acouchi"?

I want people to feel joy. My character, Leaf Coneybear, is constantly flustered with happiness, and it’s made me happier as a person to play this character. I want audiences to leave with that feeling too. With everything that goes on all the time, I want people to just be happy for an hour and a half watching the show, and I feel like our cast and crew have done so much to make that possible. And when an audience is happy, it makes everyone on stage feel even happier, and it energizes the show. I hope everyone who watches the show leaves with a newfound joy.

If Leaf Coneybear's mission is to spread joy, Wyatt Van Hazel seems more than up to the task. His performance is a reminder of the heart, humor, and imagination that make “The 25th Annual Putnam County Spelling Bee such a delight.

How To Get Tickets

“The 25th Annual Putnam County Spelling Bee” is playing at Oceanside Theatre Company through June 14th. For ticket and show time information go to oceansidetheatre.org

Photo Credit: Oceanside Theatre Company

Video: FELLOW TRAVELERS Comes to San Diego Opera

Thu, 11 Jun 2026 17:02:24 PST

A new clip from San Diego Opera's upcoming production of FELLOW TRAVELERS offers a preview of the contemporary American opera ahead of its three-performance run at the Balboa Theatre in downtown San Diego, July 10 through 12.

FELLOW TRAVELERS features music by Gregory Spears and a libretto by Greg Pierce, based on Thomas Mallon's novel, which was also adapted into a Showtime miniseries. The story follows Timothy Laughlin, an idealistic college graduate who arrives in Washington, D.C., to work against communism and becomes entangled in a secret love affair with a State Department official. Set in 1953, the opera unfolds against the backdrop of the McCarthy era's so-called Lavender Scare, when persecution of LGBTQ+ federal employees was widespread. Opera Magazine has described the score as "seductively beautiful," and the Chicago Tribune has called it "one of the most accomplished new American operas."

The San Diego run marks the Southern California premiere of the work, part of a national Tenth Anniversary Tour. The production is conducted by Bruce Stasyna and directed by Kevin Newbury, with a cast that includes Andy Acosta, Vanessa Becerra, Marcus DeLoach, Joseph Lattanzi, Randell McGee, Amber R. Monroe, Kyle Pfortmiller, Elisa Sunshine, and Jeremy Weiss.

BroadwayWorld has been following the opera's tour extensively, including coverage of the San Diego announcement and earlier stops with Seattle Opera and Portland Opera.

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The Old Globe Launches Search for San Diego Musicians to Open BEGIN AGAIN

Thu, 11 Jun 2026 16:46:26 PST

The Tony Award-winning Old Globe, is launching a search for talented San Diego singers, songwriters, and musicians to take part in a special opportunity – to open the pre-Broadway engagement of the new musical, Begin Again, with a performance before the start of the show.

In both the film and the new stage musical, the story begins at a New York City open mic night, where Gretta, a gifted songwriter, is introduced as the final performer of the evening. This summer, The Old Globe will bring that spirit to San Diego, inviting local artists to share their music and help build excitement for the upcoming new musical.

Additionally, performers may also be selected to take the stage at the one-night-only event, Begin Again: San Diego Sessions, a free community music event on the Globe's Copley Plaza, on Monday, July 20, at 7:00 p.m. The Globe's Lady Carolyn's Pub will be celebrating this inspiring evening with happy hour prices all evening.

With Begin Again, The Old Globe is celebrating the creativity already thriving across San Diego's music scene — from open mics and coffeehouses to clubs, campuses, studios, and neighborhood stages — and inviting local artists to help begin this new musical in the city where its journey to Broadway starts.

Begin Again is based on the film written and directed by John Carney; book by Jenna Clark Embrey and Molly Beach Murphy; music and lyrics by Train; music supervision, arrangements, and orchestrations by Brian Usifer; choreography by David Neumann; and directed by Lorin Latarro. The world premiere musical, based on the Exclusive Media motion picture, Begin Again, is produced by special arrangement with Stephanie Kramer, Tamar Climan, and Nicole Kramer. Performances run September 6 to October 11, 2026, with the opening on Thursday, September 17 on the Donald and Darlene Shiley Stage in The Old Globe Theatre, part of the Globe's Conrad Prebys Theatre Center in San Diego's Balboa Park.

In a city alive with possibility, two unlikely dreamers discover that music has the power to change everything. When Gretta, a gifted but heartbroken songwriter, crosses paths with Dan, a record producer on the brink of burnout, their chance encounter sparks an unexpected collaboration that transforms them both. Set against the exhilarating backdrop of New York City, Begin Again is a world-premiere musical about rediscovering passion, purpose, and the courage to start over.

SUBMISSION DETAILS:

This opportunity is not a casting call for a role in the actual stage production. It is a special performance opportunity inspired by the opening scene of Begin Again.

Applicants must be 18 years of age or older. Solo performers and duets are welcome. Performances should feature live vocals and may include handheld acoustic instruments. Full bands, drum kits, and explicit lyrics are not permitted. Each selected performer will perform one song, with a maximum length of four minutes. Full music guidelines are found in the application. All performers must agree to photo and video capture and possible promotional use by The Old Globe.

Singers and musicians selected to join The Old Globe for this unique opportunity will receive two complimentary tickets to see Begin Again on select dates. Performers selected for the pre-show opportunity during the run of Begin Again will receive a $50 stipend per performance and two complimentary tickets to the performance at which they will appear, subject to availability and select performance dates.

Video submission entries must be submitted no later than Friday, July 10, 2026. Selected performers will be notified by Tuesday, July 14, 2026. Space is limited.

For more information on submission details, visit theoldglobe.org/begin-again-san-diego-sessions.

Begin Again will play on the Donald and Darlene Shiley Stage in The Old Globe Theatre, part of the Globe's Conrad Prebys Theatre Center in San Diego's Balboa Park (1363 Old Globe Way). Performances for the world premiere, pre-Broadway engagement run September 6 – October 11, 2026, with the official press opening Thursday, September 17. Tickets are currently available by subscription only at TheOldGlobe.org, by phone at (619) 23-GLOBE (234-5623), or in person at The Old Globe's Box Office in Balboa Park. Single tickets will go on sale Friday, July 24, 2026, at 1 p.m.

The Old Globe Launches Search for San Diego Musicians to Open BEGIN AGAIN

Thu, 11 Jun 2026 16:46:26 PST

SUBMISSION DETAILS:

This opportunity is not a casting call for a role in the actual stage production. It is a special performance opportunity inspired by the opening scene of Begin Again.

Video submission entries must be submitted no later than Friday, July 10, 2026. Selected performers will be notified by Tuesday, July 14, 2026. Space is limited.

For more information on submission details, visit theoldglobe.org/begin-again-san-diego-sessions.

Interview: Dallas McLaughlin of THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE at Oceanside Theatre Company

Thu, 11 Jun 2026 11:29:44 PST

If you've ever wondered who would be trusted to supervise a room full of competitive middle-school spellers, the answer is apparently someone who may be even more unpredictable than the contestants themselves.

In Oceanside Theatre Company's production of “The 25th Annual Putnam County Spelling Bee”, Dallas McLaughlin plays Vice Principal Douglas Panch, the spelling bee official responsible for dispensing words, definitions, and occasionally injecting a little chaos. A multi-Emmy-winning performer, writer, director, comedian, and familiar face to OTC audiences, McLaughlin brings his comedic instincts to one of musical theatre's most delightfully eccentric authority figures.

We spoke with him about returning to the role, improvisation, and working alongside the next generation of theatre artists through OTC's STAGES Apprenticeship Program.

How do you describe this show and your role as the Vice Principal in the world of this musical?

This show is a damn delight! I always tell people if you come to this show you are going to have a good time. You’re gonna laugh, you’re gonna smile and there are even a few times you might tear up. This show is all about wonderfully written characters and great songs! My role is pretty much just to keep this Bee moving and keep people having a good time. Panch is always there with a quip, odd line, or explosion to make sure no one loses track that we are here to ultimately have fun!

Panch spends much of the show reluctantly judging a spelling bee he doesn't really seem to want to be at. What do you enjoy most about playing someone who is simultaneously disengaged and involved, seemingly against his will?

Well, this is actually the second time I’ve gotten to play this role - 10 years apart! (I guess I’ve always looked like an elementary school vice principal.) And, the reason I’m drawn to it is that it gives me the opportunity to do something I love on stage - be unpredictable. Panch is introduced as a wild card, and the way he acts throughout the entire musical is a bit off, and you kind of never know what he’s gonna do or say. But, I get to do it in such a deadpan straight faced way you can really never tell if I’m serious or not. This could be the happiest Panch ever gets! He could be miserable. Ya never really know. It’s so damn fun.

The definitions and example sentences Panch gives are some of the show's biggest laughs. How much room is there for improvisation or finding new comedic moments during rehearsals?

I’d be lying if I said I kept the improv to rehearsals haha! From the get-go Melissa gave me the freedom to play. She wanted me to keep things awkward and funny, and keep everyone (including the cast) on their toes. The script has a fantastic extra list of words and sentences, so I usually use that as a starting-off point, and if I can get a bigger laugh with something else, then I’ll use it. But chances are I’ll change it again at the next show, haha. My favorite moments of improvising is usually when we talk to the guest (audience) spellers. Everyone gets to be in on the joke at that point, so if we all break a little it’s fine and often makes the jokes land even harder.

As an experienced professional actor, what is it like working with the performers through the STAGES Apprenticeship Program on this show?

I just found out about this program the other night! I just assumed they were all pros as well, cause they’re all so damn good! For reals. It’s been great getting to perform alongside them cause this is truly an ensemble show and there ain’t a weak link up there! Of course, I don’t allow them to talk to me or look directly at me. I am a pro after all, and if they need something from me, they can talk to our SM first. KIDDING. The way they’ve shown up and killed it out there every show is such a joy to watch!

Whether he's inventing new definitions, keeping audience volunteers on their toes, or finding fresh ways to surprise the cast, McLaughlin's approach to Douglas Panch sounds a lot like the character himself: unpredictable, hilarious, and fully committed to making sure everyone has a good time. That's fitting for “The 25th Annual Putnam County Spelling Bee”, a musical that celebrates the wonderfully weird people who make life—and theatre—a lot more fun.

How To Get Tickets

“The 25th Annual Putnam County Spelling Bee” is playing at Oceanside Theatre Company through June 14th. For ticket and show time information go to oceansidetheatre.org

Photo Credit: Oceanside Theatre Company

Video: First Look at THE MOST HAPPY FELLA at North Coast Repertory Theatre

Wed, 10 Jun 2026 12:51:40 PST

North Coast Repertory Theatre has released a trailer for its current production of THE MOST HAPPY FELLA, offering audiences a glimpse into the romantic musical now running at the Solana Beach, California venue through July 5.

THE MOST HAPPY FELLA features music, lyrics, and libretto by Frank Loesser, whose sweeping, opera-inflected score sets the show apart as one of Broadway's most ambitious mid-century musicals. Set against the sun-drenched vineyards of California's Napa Valley, the story centers on love, longing, and the complicated terrain of second chances, weaving tender ballads and vibrant showstoppers into a rich emotional landscape.

North Coast Repertory Theatre, a fixture of the San Diego-area theatre scene, is presenting an intimate version of the piece at its Solana Beach home. Director Jeffrey B. Moss helms the production, with Lauren Weinberg as Rosabella and Gregory North as Tony leading the cast through Loesser's demanding and deeply affecting score.

BroadwayWorld has followed this production closely, including a review praising the company's glorious score and excellent cast and an interview with Moss in which the director discussed his affection for the material and his approach to bringing this classic work to a new audience.

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THE ADDAMS FAMILY to Inaugurate Trinity Theatre Company's New Carlsbad Location

Wed, 10 Jun 2026 05:24:48 PST

Trinity Theatre Company has announced they have leased a second space at the Shoppes In Carlsbad. With this addition to their current space at the Mission Vally Mall, Trinity will be doubling their outreach into the community. The new space will be helmed by Connor Boyd, Regional Manager of Trinity Carlsbad. Auditions for The Adaams Family (ages 8-18), the inaugural production in the new Carlsbad space, will take place at the end of August. Trinity will also host an open house with performances and activities for the community to check out the space on September 19th. Trinity is currently seeking survey feedback from their North County neighbors regarding plans for additional arts programming. Learn more about the Carlsbad space and take the survey HERE.

Artistic Director, Sean Boyd, shared “When we opened our space in the Mission Valley Mall three years ago - we were leaning into a new model. We dropped Trinity's performance, theatre education and community outreach in the middle of a commercial entity. We all know that the explosion of e-commerce has translated to a decline in attendance at malls. We saw that as an opportunity to help reconnect the community to a commercial space - with performance art as the conduit. We have been delighted with the response and attendance that we have seen in the Mission Valley Mall over the past three years. We have some incredible partnerships with our corporate neighbors - and our community programming - for all ages - has thrived.”

Boyd continued “We know the Mission Valley model works. From our theatre education programming for our youngest of friends - Trinity Tots - all the way up to our Senior programming with Living Room Readers - we have enjoyed incredible community engagement and growth. Our auditions and attendance for all productions from our youth plays to our Grown Up Stage productions are packed with new friends. However, those programs are inaccessible to a large portion of our community due to geography. San Diego is a massive county. Expanding into a second market gives neighboring North County communities a better entry point. Currently, there is no year round arts education service in Carlsbad. Nor is there year round arts programming for seniors and military. We have created those programs in our Mission Valley space and look forward to sharing them in North County.”

About Trinity Theatre Company

Helmed by Artistic Director, Sean Boyd, Trinity Theatre Company (TTC) renders productions of great societal value in hopes of unifying friends, family, and community. TTC believes all individuals wishing to participate in the performing arts should have a venue in which they inspire and are inspired. Our shows merge the talents of seasoned performers as well as spirited newcomers, jointly engaged in both performance and technical aspects of theatre.

THE ADDAMS FAMILY to Inaugurate Trinity Theatre Company's New Carlsbad Location

Wed, 10 Jun 2026 05:24:48 PST

About Trinity Theatre Company

Cast Set for NORTH BY NORTHWEST North American Premiere at The Old Globe

Tue, 09 Jun 2026 17:06:21 PST

The Old Globe has revealed the full cast and creative team of the North American premiere of North by Northwest. Adapted and directed by Emma Rice, Hitchcock’s classic thriller is transformed. North by Northwest will play on the Donald and Darlene Shiley Stage at The Old Globe Theatre, part of the Globe’s Conrad Prebys Theatre Center in San Diego’s Balboa Park. Performances run July 3 – August 2, 2026, with the official press opening on Thursday, July 9, at 7 p.m.

Direct from England, theatre legend Emma Rice brings to the Globe her inventive take on the Alfred Hitchcock classic North by Northwest. When ad man Roger Thornhill is mistaken for a Cold War spy, he goes on the run dodging airplanes, bad guys and a femme fatale who may not be what she seems. With seven shape-shifting performers, a swinging ‘50s soundtrack, and the iconic backdrop of Mount Rushmore, Rice transforms the beloved thriller into a riotously funny high-speed theatrical ride.

The cast of North by Northwest includes Danny Collins as Roger Thornhill (Manchester Royal Exchange’s Singin’ in the Rain; Old Vic Theatre’s Jekyll & Hyde – National Dance Award nomination), Evangeline Dickson as Mrs. Townsend (MAC/LeicesterCurve’s The Owl Who Came For Christmas; Theatre In The Forest’s A Midsummer Night’s Dream), Patrycja Kujawska as Eve Kendall (Old Vic Theatre’s Wise Children; The Lucky Chance’s The Little Match Girl), Simon Oskarsson as Valerian (The Lucky Chance’s A Child’s Christmas in Wales; 2Enterain/ Intiman Teatern’s Dear Evan Hansen), Katy Owen as The Professor (Old Vic Theatre’s Wise Children; Shakespeare’s Globe’s Twelfth Night), Bryony Pennington as Anna (The National Theatre’s Les Liaisons Dangereuses; Matthew Bourne’s New Adventure’s Swan Lake), and Karl Queensborough as Phillip Vandamm (Victoria Palace’s Hamilton – Lead Role; Old Vic Theatre’s Girl From The North Country).

In addition to director Emma Rice, the creative team also includes Rob Howell (Scenic and Costume Design); Simon Baker (Composer and Sound Design); Malcolm Rippeth (Lighting Design); Etta Murfitt (Movement Director, Choreographer, and Intimacy Coordinator); Mark Kaufman (Creative Consultant); and Kev McCurdy (Fight Director); Helen Lainsbury (Company Stage Manager on Book), and Zoë Mackinnon (Stage Manager).

North by Northwest will play in the Donald and Darlene Shiley Stage at The Old Globe Theatre, part of the Globe’s Conrad Prebys Theatre Center in San Diego’s Balboa Park (1363 Old Globe Way). Performances run July 3 – August 2, 2026.

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.

SILENT MOVIE MONDAYS to Return for Season Three at Balboa Theatre

Tue, 09 Jun 2026 05:21:59 PST

This fall, the silver screen flickers and the Wonder Morton Theatre Organ roars back to life as Silent Movie Mondays returns to the Historic Balboa Theatre for its highly anticipated third season — an immersive celebration of silent cinema where classic films, immersive music, and a devoted community of moviegoers come together for unforgettable Monday nights in the Gaslamp Quarter.

Following the season reveal during the June 8 screening of Safety Last! — the finale of Season Two — San Diego Theatres is proud to unveil a new lineup of seven silent-era classics spanning spine-tingling suspense, sweeping romance, laugh-out-loud comedy, and grand adventure.

“San Diego Theatres is thrilled to present the third season of Silent Movie Mondays at the Balboa Theatre”, said Steven Johnson, Vice President of Business Development and Marketing for San Diego Theatres. Johnson added, “Season Three showcases some of the best silent cinema of the era, and a roster of acclaimed theatre organists that will delight not only our loyal audience but those new to this exceptional experience.

Season Three of Silent Movie Mondays will kick off with two haunting silent classics: The Headless Horseman (1922) on September 21 featuring acclaimed theatre organist Ken Double, followed by Dr. Jekyll and Mr. Hyde (1920) featuring organist David Marsh on October 26 Setting the tone for an autumn filled with excitement and just the right dose of suspense and scare from cinema’s earliest storytellers.

Audiences will delight in our Laurel & Hardy holiday triple-feature on December 7 featuring organist Russ Peck, and revel in the thrilling spectacle of Buster Keaton’s The General (1926) with organist Brett Valliant on February 8, and swoon over the sweeping romance of The Sheik (1921) featuring organist David Marsh, laugh alongside Harold Lloyd’s heartfelt comedy Grandma’s Boy (1922) accompanied by organist Russ Peck on May 3, and we close Season Three of Silent Movie Mondays with the dazzling fantasy epic The Thief of Bagdad (1924) featuring a return of organist Ken Double.

Each screening begins with a live pre-show performance on the historic Wonder Morton Theatre Organ, by acclaimed theatre organist Rosemary Bailey, setting the mood to help transport audiences back to the magic of the early days of moviemaking. Following each screening, an engaging talkback with the evening organist alongside a film expert, offering behind-the-scenes context, historical insight, and lively conversation brings these nearly century-old stories into a fresh, contemporary light.

Silent Movie Mondays has become a gathering place for classic film lovers, curious newcomers, and costumed enthusiasts alike. Guests are encouraged to lean into each month’s theme — with many attendees arriving in period-inspired attire, playful costumes, or looks inspired by the evening’s featured film, helping transform the Historic Balboa Theatre into a living tribute to cinema’s golden age. Arrive early and stay late for fun and informative activities!

Balboa Theatre’s history began in 1924 when it opened as a vibrant venue for vaudeville, music, and silent films in downtown San Diego. A century later, that legacy continues as audiences are transported back to that era when these films illuminated the screen and the theatre organ roared to life creating a whimsical, atmospheric, and totally unique auditory experience that replicated the sounds of a full symphony at the fingertips of one player.

SILENT MOVIE MONDAYS to Return for Season Three at Balboa Theatre

Tue, 09 Jun 2026 05:21:59 PST

THE SPONGEBOB MUSICAL Cast Spotted in Wandelprobe Sneak Peek at Cygnet Theatre

Sun, 07 Jun 2026 11:53:15 PST

Cygnet Theatre released a wandelprobe sneak peek video this week, offering an early glimpse of the cast moving through the space as the company prepares to open its production of THE SPONGEBOB MUSICAL. The footage captures the ensemble in the midst of a wandelprobe — the rehearsal process in which performers walk and sing through the show on the actual stage for the first time — giving audiences a preview of the production before it officially begins performances.

THE SPONGEBOB MUSICAL brings the beloved Nickelodeon animated series to the stage, following SpongeBob SquarePants and the residents of Bikini Bottom as they confront an existential threat to their underwater home. The show features an eclectic score drawn from original songs contributed by a wide range of artists spanning rock, pop, and R&B.

The Cygnet production is directed by Katie Banville and will be staged at The Joseph Clayes III Theater in San Diego. Performances begin June 10, with the production running through July 12, 2026. BroadwayWorld previously reported on the full cast and creative team assembled for the production.

Banville's work on this production takes on added significance given that she was recently announced as Cygnet Theatre's incoming artistic leader, stepping into the role beginning in July after more than two decades as a performer, choreographer, and director with the company. Tickets and information are available at cygnettheatre.org.

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THE MOST HAPPY FELLA Trailer Released Ahead of North Coast Repertory Theatre Run

Sun, 07 Jun 2026 11:52:31 PST

North Coast Repertory Theatre has released a trailer for its upcoming production of THE MOST HAPPY FELLA, offering audiences an early glimpse into the Napa Valley–set romantic musical ahead of its Solana Beach engagement.

THE MOST HAPPY FELLA features music, lyrics, and libretto by Frank Loesser, whose sweeping, opera-inflected score distinguishes the show as one of Broadway's most ambitious mid-century musicals. The story follows Tony, a lonely Italian vineyard owner whose fateful correspondence with a young waitress named Rosabella sets an unlikely love story in motion — one built on longing, deception, and ultimately grace. Lauren Weinberg leads the cast as Rosabella opposite Gregory North as Tony, with Chris Hunter as Joe, Bethany Slomka as Marie, and Andrew Hey as Herman, among an ensemble that also includes Shinah Hey, Tori Hitchcock, Morgan Hollingsworth, Jason Maddy, Isabelle Pizzurro, Jacob Caltrider, and Eli Wood.

Director Jeffrey B. Moss helms the production at North Coast Repertory Theatre, bringing what he has described as a rediscovery of the material to the company's intimate Solana Beach stage. BroadwayWorld spoke with Moss ahead of opening night about his approach to Loesser's sprawling yet deeply personal score.

The production has since opened to critical attention, and BroadwayWorld's review praised the cast's vocal performances and the enduring power of Loesser's writing in North Coast Rep's intimate staging.

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Review: THE MOST HAPPY FELLA at North Coast Repertory Theatre

Sun, 07 Jun 2026 06:14:21 PST

If you think lying on your dating profile is a modern invention, “The Most Happy Fella” is here to remind you that catfishing has existed for generations. Fortunately, North Coast Repertory Theatre's production has something even more timeless than romantic deception: a glorious score sung by an excellent cast.

Frank Loesser's intimate musical with a sweeping score about love, loneliness, and second chances is filled with soaring ballads, rich harmonies, and emotionally charged numbers. This company delivers them all with warmth, passion, and skill. From the first notes to the final curtain, the music proves exactly why this musical has endured.

The story follows Tony (Gregory North), a middle-aged Napa Valley farmer who begins a correspondence with Rosabella (Lauren Weinberg), a San Francisco waitress. After his sister Maria (Bethany Slomka) tells him he is too old for this romance and, concerned that this might be true, Tony sends a photograph of his handsome young foreman, Joe (Chris Hunter), instead of himself. Naturally, this decision creates exactly the sort of problems one might expect when a relationship begins with a lie.

When Rosabella arrives expecting one man and finds another, hurt feelings, misunderstandings, and emotional complications follow. Meanwhile, Rosabella's friend Cleo (Shinah Hey) comes to check in on her friend (this is effectively a mail-order bride situation, so good on Cleo for being protective) and finds romance of her own with the eternally cheerful ranch hand Herman (Andrew Hey), providing some of the show's most charming moments.

Director Jeffrey B. Moss once again demonstrates his golden touch for Golden Age musicals. As he did with North Coast Rep's excellent production of “Camelot”, Moss approaches this work with affection, confidence, and a talented cast. The result is a production that feels both intimate and grand, showcasing the emotional richness of the score while ensuring every performer has a chance to shine

North anchors the production as Tony with a warm, sincere performance. His rich vocals beautifully serve Loesser's demanding score, while his gentle presence makes it easy to understand why Tony is so beloved by everyone around him. Weinberg matches him note for note, delivering soaring vocals and making Rosabella's journey feel genuine even when the plot occasionally veers into melodrama.

Gregory North and Lauren Weinberg
Photo Credit: Aaron Rumley

Hunter also delivers strong vocals as Joe, especially in "Joey, Joey, Joey," capturing the restless spirit of a man constantly pulled toward the next horizon, only to become stuck in an increasingly awkward and complicated situation.

Shinah Hey is a firecracker as Cleo, bringing comic timing and plenty of personality to every scene. Andrew Hey is equally delightful as Herman, whose relentlessly optimistic outlook proves infectious. Their flirtation is a highlight, and their chemistry adds a sunny burst of joy.

Shinah Hey and Andrew Hey
Photo Credit: Aaron Rumley

Andrew, along with Jacob Caltrider, Morgan Hollingsworth, and Eli Wood, also delivers a wonderfully harmonized and charmingly choreographed rendition of "Standing on the Corner.”

Caltrider, Hollingsworth, and Wood also excel as Tony's trio of Italian chefs. Their performance of "Abbondanza" combines singing, dancing, juggling, and comedy with such gleeful energy that it feels like a live-action Looney Tunes short in the best possible way. Their perfectly synchronized disapproving glares later in the show are equally memorable.

L-R: Jacob Caltrider, Andrew Hey, Morgan Hollingsworth, and Eli Wood
Photo Credit: Aaron Rumley

Bethany Slomka brings nuance and heart to Tony's protective sister, Marie, making her concerns stem from genuine love (and some self-preservation) rather than mere interference. Jason Maddy, Tori Hitchcock, and Isabelle Pizzurro provide strong supporting work throughout multiple roles.

Musically, the production is outstanding. Music Director Elan McMahan deserves tremendous credit for guiding the cast through Loesser's ambitious score. The accompaniment by McMahan and Justin Gray fills the theatre, and their musicianship not only provides the foundation for the production's soaring vocals and intricate harmonies but also reminds the audience just how magnificent Loesser's music truly is.

Elan McMahan and Justin Gray
Photo Credit: Aaron Rumley

Melissa Glasgow's choreography uses the intimate space effectively, while Marty Burnett's scenic design evokes a rustic Napa Valley barn that opens to reveal a beautiful painted landscape. Matthew Novotny's lighting fills the stage with warm sunsets and vibrant colors, while Alina Bokovikova's costumes help establish the period with a playful spirit.

The plot, scene by scene, can occasionally feel like tonal whiplash, bouncing between comedy, heartbreak, and romance, and some story elements are unnecessarily convoluted. And yet, none of that ultimately matters.

Loesser's score is breathtaking, and North Coast Rep has assembled a company capable of delivering every note with passion, precision, humor, and heart.

How To Get Tickets

“The Most Happy Fella” is playing at North Coast Repertory Theatre through July 5th. For ticket and showtime information, go to northcoastrep.org

Photo credit: Aaron Rumley

Review: THE MONSTERS at La Jolla Playhouse

Sat, 06 Jun 2026 22:06:11 PST

In Ngozi Anyanwu's “The Monsters”, now playing at the La Jolla Playhouse, punches land hard, takedowns hit fast, and every bruise carries decades of history behind it. Even if you know absolutely nothing about mixed martial arts, this riveting and emotionally charged drama remains completely engrossing. By the end of its 85-minute runtime, the audience was invested not in who wins the fights, but in the bond of these two siblings moving forward.

Written by Ngozi Anyanwu, the play centers on half-siblings BIG (Sullivan Jones) and LIL (Ngozi Anyanwu) who share a father and a family history marked by addiction, abandonment, and disappointment. As adults, they've become very different people. LIL is a whirlwind of energy, bravado, impulsiveness, and endless chatter, desperate to be seen, loved, and thought of as somebody. BIG has streamlined those same wounds into discipline and isolation. He doesn't need people around him because experience has taught him they'll eventually leave anyway.

It's a lesson he knows particularly well. When the play begins, BIG has been absent from LIL's life for fifteen years.

The pair has wonderful chemistry together. Their banter feels authentically sibling-like: rapid-fire, chaotic, constantly changing subjects, making fun of each other one second and fiercely supporting or challenging each other the next. The dialogue crackles with affection, irritation, and shared history.

Anyanwu's script fluidly shifts between present-day scenes and childhood memories, gradually revealing how their bond formed and eventually fractured. As a child, LIL worships her older brother. BIG adores her right back, serving as protector, babysitter, and safe harbor amid family turmoil. Years later, when she tracks him down, she's focused on the bright lights and championship belt that symbolize his success, while remaining largely uninterested in the discipline, sacrifice, and self-control that made that success possible.

Sullivan Jones in La Jolla Playhouse’s “The Monsters.”
Photo Credit: Rich Soublet II

The physical storytelling throughout the production is exceptional. The combination of lighting design by Reza Behjat, sound design by UptownWorks (Daniels Hart, Noel Nichols, and Bailey Trierweiler), fight consultation by Chelsea Pace, and mixed martial arts consultation by Sijara Eubanks creates some of the most effective theatrical fight sequences and character development you will see. Every punch, grapple, and training exercise becomes part of the storytelling. The lighting and sound are synchronized so precisely with the movement that you forget there is no opponent in the fight you’re watching.

The training montages are particularly effective. They're funny, reveal character, and showcase the siblings' evolving relationship while allowing the production to jump seamlessly between timelines. With every push-up, takedown, and sparring session, we learn something new about who these people are.

The sequences are also a reminder of just how much physical work outside of the theatre this production demands from its performers. The athleticism required to perform this material safely eight times a week is impressive on its own; combining it with acting of this caliber makes it even more remarkable.

Ngozi Anyanwu, left, and Sullivan Jones in La Jolla Playhouse’s “The Monsters.” Photo Credit: Rich Soublet II

As LIL, Anyanwu delivers a remarkable performance, charting her character's growth from impulsive dreamer to determined fighter. Her physicality is especially impressive, allowing her to switch effortlessly between vulnerable child and stubborn adult. Sullivan Jones is equally outstanding, and the emotional weight of the production rests on his shoulders. He beautifully captures BIG's guarded nature, his discomfort with the world around him, and the guilt he carries for leaving LIL behind.

Nina Ball's scenic design creates a versatile gym and MMA ring that transform into numerous locations throughout the play, while Celeste Jennings' costume design cleverly charts LIL's evolution as both a fighter and a person and, through their color, highlights the siblings' differing temperaments.

“The Monsters” delivers thrilling fight sequences, but its greatest strength lies in the family story at its center. Funny, heartbreaking, and powerfully performed, this is an incredibly strong production. Whether you're an MMA fan or not, the play's emotional punches land with equal force.

How To Get Tickets

“The Monsters” is playing at the La Jolla Playhouse through June 28th. For ticket and showtime information, go to lajollaplayhouse.org

Photo credit: Rich Soublet II

Review: THE HOMBRES at The Old Globe

Sat, 06 Jun 2026 08:00:53 PST

“The Hombres” is a thoughtful examination of friendship, masculinity, and the surprising ways personal growth can occur in the unlikeliest of places.

There is a moment at the beginning of the production where Julián, a yoga instructor, speaks directly to the audience and invites everyone to take a collective breath, much like the start of a yoga class. As the entire audience inhaled and exhaled together, the theatre instantly transformed into a shared space. It is a simple but remarkably effective opening that prepares everyone for the journey ahead, while also subtly warning you that you may be doing some emotional stretching before the evening is over.

(from left) Jesse J. Perez as Pedro, Jason Sanchez as Beto, and Martín Solá as Héctor in The Hombres, 2026. Photo by Rich Soublet II.

Set in New Jersey, “The Hombres” follows three Latino construction workers whose lives become intertwined with the yoga studio next door to their job site. Héctor (Martín Solá), the gruff foreman, secretly begins to show interest in learning yoga, and the change in his demeanor confuses his coworkers, Pedro (Jesse J. Perez) and Beto (Sanchez). Yoga instructor Julián (Jonny Beauchamp), who has his own trust and friendship issues with other men, finds himself juggling how to process Héctor’s request while also trying to get to know new yoga student Miles (Robert Lenzi). Along the way, the men begin questioning long-held assumptions about masculinity, strength, and vulnerability.

Like “Alien Girls” before it at The Old Globe, “The Hombres” gives audiences an intimate look at a friendship, in this case, close male friendships. Each of these men is afraid of something, searching for something, and often not entirely sure what that something is. The yoga studio becomes a safe space where they can explore different ways of being men in a world filled with expectations about who they should be. It is poignant, but Meneses wisely keeps the laughs coming. The result is a play that explores race, economics, sexuality, identity, and friendship without ever feeling like a lecture.

(from left) Jonny Beauchamp as Julián and Robert Lenzi as Miles in The Hombres, 2026. Photo by Rich Soublet II.

Director James Vásquez keeps the humor and sweetness at the forefront throughout. Even when the story ventures into more serious territory, the production never loses its warmth. Vásquez carefully establishes the two distinct worlds of the play—the grittier construction site and the calming yoga studio—while emphasizing the friendships that gradually bridge the gap between them. He keeps the focus firmly on the heart of every relationship, allowing the emotional moments to land naturally rather than forcing them.

Beauchamp brings warmth, humor, and sincerity to Julián, while Solá gives Héctor a tough exterior that slowly reveals surprising vulnerability. Their unlikely friendship becomes the emotional anchor of the play.

Perez and Sanchez generate many of the evening's biggest laughs. Perez's endlessly cheerful Pedro is particularly delightful when he begins embracing yoga and healthier habits, enthusiastically trying to convince the horrified Betor that salads are actually delicious. Sanchez also delivers a compelling arc as Beto struggles to reconcile his ideas of masculinity with the examples unfolding around him. Lenzi is charming as Miles, one of the few male students in the yoga class, who is navigating life changes that challenge how he sees himself and his future.

David I. Reynoso's scenic and costume design beautifully blends the seemingly opposite worlds of construction and yoga within the intimate theatre-in-the-round setting. The construction site and yoga studio are clearly defined, yet visually intertwined, reflecting the gradual overlap of the characters' lives. There is a juxtaposition between the two spaces: both require physical strength and discipline, yet one is considered rugged and masculine while the other is often dismissed as soft and pampered. Like the men at the center of the story, the wood used for the construction platforms and the wood flooring of the yoga studio are, at their core, the same, even though they become vastly different from each other.

Leon Rothenberg's sound design and Brandon Rosen's lighting further enhance the atmosphere, with warm light glowing through the metal scaffolding that towers above the peaceful studio below.

At its core, “The Hombres” is about the bonds people create when they allow themselves to be seen. Funny, bittersweet, and ultimately hopeful, it asks audiences to reconsider assumptions about masculinity while celebrating the power of friendship. Much like the yoga class at its center, the play encourages everyone to loosen up a little, breathe a little deeper, and maybe be open to discovering something unexpected about themselves along the way.

How To Get Tickets

“The Hombres” is playing at The Old Globe through June 21st. For ticket and showtime information, go to theoldglobe.org

Photo Credit: Photo by Rich Soublet II.

Interview: Joshua Chamberlain of THE MEN WHO DREW THE UNIVERSE at He Broadwater MainStage

Fri, 05 Jun 2026 15:18:37 PST

Spider-Man, the X-Men, the Fantastic Four—few creative partnerships have shaped popular culture quite like Stan Lee and Jack Kirby. But “The Men Who Drew the Universe”, the new play written and directed by Joshua Chamberlain, leaves the superheroes offstage to focus on the complicated friendship that created them.

Premiering at the Hollywood Fringe Festival, “The Men Who Drew the Universe” uses the story of Lee and Kirby to ask larger questions about creativity, ambition, and cultural memory. Part biography, part examination of artistic collaboration, the play explores what happens when two creators build something extraordinary together but have very different ideas about success, recognition, and legacy.

I spoke with Chamberlain about bringing this story to the stage, why he chose to focus on the men rather than their superheroes, and what audiences might discover in a play about one of pop culture's most influential creative partnerships.

People may be familiar with the debate surrounding credit and authorship in Marvel's history to varying degrees, since it frequently comes up when a new comic-based movie premieres. What interested you most about the human story behind that controversy, and what made you feel it belonged onstage?

First and foremost, I was fascinated by the transformation of Stan and Jack’s relationship over time. At the height of their success, they were each two halves of a whole, which is what makes the tug-of-war over creative credit so heartbreaking. We wanted to tell this whole thing as a love story between these two men, whose collaboration yielded something so much larger than either of them. And to witness the ways that creation poisons their relationship is absolutely staggering. And as far as adaptation for the stage, I wanted to tell this story almost like a courtroom drama with the audience standing in for the jury. Stan and Jack each make their case, telling this story as they remember it, leaving the audience to determine whose narrative is closer to the truth.

The play explores two very different definitions of success. Did your perspective on Stan Lee or Jack Kirby change while writing the script?

I don’t know if my perspective changed per se, but it was these competing definitions of success that made this project so exciting for me as a writer. Stan embodies the adherence to a carefully cultivated “brand” for the sake of gaining recognition and status, whereas Kirby is your typical 20th-century, blue-collar man whose primary focus is paying the mortgage and putting food on the table. Ultimately, I think it was these differing definitions of success that eroded Stan and Jack’s relationship. In a strange way, this tension became deeply personal for me, because I find myself pulled in both directions, both as an artist and a person. I mean, who doesn’t want to be Stan Lee? But becoming a cultural icon comes at a hefty price.

Comic books are such a visual medium. What were the biggest challenges—and opportunities—in translating this story into live theatre as they create these worlds?

Hands down, the biggest challenge was fan expectations. I think the trap so many franchise movies and IP-driven media fall into is placing fan service over telling a compelling story. We wanted someone to be able to see our show having never picked up a comic book in their life and still find themselves captivated by Stan and Jack’s story. But we also know there are comic fans who’ll walk in expecting to see certain things happen. I did try to temper expectations in the script, giving Kirby a line in his first address to the audience, “I know you think you know what’s about to happen, but here’s what I’m going to tell you: there are no heroes in this story.” That said, there are a few tiny nods to the Marvel fanbase, though hopefully in a way that serves the story as opposed to detracting from it.

The play examines cultural memory and legacy. How do you think popular culture has shaped the way Stan Lee and Jack Kirby are remembered today?

It’s easy to say that in the battle for control of their story, Stan won in the end. He’s the one who wound up as the face of Marvel Comics. That said, to look at the ways we remember these men now calls into question what kind of legacy is worth leaving. I read somewhere recently Stan’s estate signed a deal for his likeness to appear in AI-generated content. On the flip side, I know there have been several museum exhibits showcasing artwork spanning Kirby’s entire career and highlighting the influence he’s had on movies, television, and visual art over the last fifty years. You ask me, it’s easy to see who made it out of this whole deal with his soul intact.

Creative partnerships often involve blurred lines between inspiration, contribution, and ownership. What conversations do you hope audiences leave having about the show?

While ownership and creative credit are certainly vital components of the play, I was more interested in Stan and Jack’s wrestling over the narrative surrounding their work. I tell people, “This is about the mythology behind the mythology.” Stan and Jack are certainly responsible for crafting what many consider to be our modern mythology, but the story of their collaboration was spun into a myth all its own, mostly by Stan. If anything, I want audiences to walk away not just pondering who deserves credit for creating what hero, but also thinking critically about the stories we’re collectively telling and where those stories come from. The hope is to sharpen the audience’s ability to distinguish between what really happened and what they’re told happened, a skill I think is more vital than ever.

Whether you're a longtime comic book fan, a theatre lover, or simply interested in stories about art, friendship, and ambition, “The Men Who Drew the Universe” offers a look behind one of popular culture's most influential creative partnerships—and the people whose imaginations helped shape a universe.

How To Get Tickets

“The Men Who Drew the Universe” will be performed at The Broadwater MainStage (1078 Lillian Way, Los Angeles, CA 90038) for five performances as part of the Hollywood Fringe Festival:

• Saturday, June 7 at 6:00 p.m.
• Friday, June 13 at 4:00 p.m.
• Tuesday, June 17 at 9:30 p.m.
• Saturday, June 21 at 11:00 a.m.
• Sunday, June 22 at 9:30 p.m.

Tickets are available through the Hollywood Fringe Festival website. Audiences can also follow the production on Instagram at @whodrewtheuniverse for updates, behind-the-scenes content, and additional information about the show.

Photo Credit: Jeff Lorch

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.

West Coast Premiere of NI NI MADRE and More Set for Diversionary Theatre 2026-2027 Season

Wed, 03 Jun 2026 11:40:06 PST

Diversionary Theatre has unveiled its 41st season: Purpose (2026 - 2027). This season will feature a total of four productions that will continue to honor the theatre's legacy of bringing LGBTQIA+ audiences new and exciting stories for, by, and about the community.

Diversionary's Season 41 includes: the West Coast Premiere Production of Ni Mi Madre written and performed by Arturo Luíz Soria (Aug/Sept 2026), the San Diego Premiere of Arrowhead by Catya McMullen (Nov/Dec 2026), the West Coast Premiere of Mother Play by Paula Vogel (Feb/March 2027) and the Legacy Revival of Take Me Out by Richard Greenberg (May/June 2027).

Tickets for Diversionary's 2026-2027 season productions are currently available via a subscription purchase online and by calling 619.220.0097. Subscription packages start at just $93. Discounted subscriptions are available for seniors, students, educators and military.

ABOUT THE 2026-2027 SEASON:

Ni Mi Madre - West Coast Premiere

Written & Performed by Arturo Luíz Soria
August 13, 2026 - September 6, 2026 / Press Opening: September 22, 2026

This riotous, Obie Award-winning one-person show follows an over-the-top Brazilian matriarch scrambling to raise her queer son within a confusing American culture. Infused and enlivened by the music of Gloria Estefan and Cher, the comedy delves into the secrets of an immigrant family and the complicated love between parent and child. It is a hilarious, sharp, and deeply human celebration of queer Latiné survival and identity.

Arrowhead - San Diego Premiere

by Catya McMullen
November 12, 2026 - December 6, 2026 (Press Opening: November 21, 2026)

When an accidentally pregnant lesbian hosts a secret abortion party at a lake house, the weekend quickly spirals into a chaotic, hilarious collision of crashing friends and imploding identities. This fearless, laugh-out-loud comedy tackles bodily autonomy and community expectations with humor instead of hopelessness. It is a bold, wildly entertaining new play that will leave audiences buzzing long after the curtain falls.

Mother Play - West Coast Premiere

by Paula Vogel
February 18, 2027 - March 14, 2027 (Press Opening: February 27, 2027)

In the turbulence of 1962 America, matriarch Phyllis maintains a rigid blueprint for her family's success, but her fiercely independent children, Carl and Martha, are prepared to tear up her script. Fueled by gin, smoke, and stubborn love, this highly theatrical production blends surreal farce with heartbreaking tenderness. It follows a family enduring the friction of a changing world, exploring the cost of authenticity and the power of forgiveness.

Take Me Out - Legacy Revival

by Richard Greenberg
May 20, 2027 - June 20, 2027 (Press Opening: May 29, 2027)

This Tony Award-winning masterwork explores the high-stakes world of professional baseball when a star player dares to come out as gay. Razor-sharp and wickedly funny, the story exposes the fractures of masculinity, race, and class hidden beneath a culture built on silence. It creates an electrifying collision between the worlds of sports and theatre, inviting fans of both into an unforgettable, provocative conversation.

West Coast Premiere of NI NI MADRE and More Set for Diversionary Theatre 2026-2027 Season

Wed, 03 Jun 2026 11:40:06 PST

Ni Mi Madre - West Coast Premiere

Arrowhead - San Diego Premiere

Mother Play - West Coast Premiere

Take Me Out - Legacy Revival

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)

Contest: Win Tickets to THE MONSTERS at La Jolla Playhouse

Mon, 01 Jun 2026 18:51:23 PST

Enter for a chance to win a pair of tickets to The Monsters at La Jolla Playhouse. BroadwayWorld is giving away a pair of tickets to two winners.

For years, LIL has observed her estranged brother from the shadows, studying every punch he throws. BIG, an aging but respected force in the local mixed martial arts circuit, remains unaware his little sister has been tracking his career from afar… until she appears unexpectedly on his doorstep.

“The Monsters hits hard and hugs harder… For anyone who grew up with siblings, it might revive the urge to bust out the couch forts and start pretending all over again.” San Francisco Chronicle Award-winning playwright Ngozi Anyanwu writes and stars alongside Sullivan Jones (HBO’s The Gilded Age) in this West Coast premiere of a warm-hearted and action-charged sibling story that grapples with the fight to build a life you can be proud of.

Raw and riveting, The Monsters delivers an emotional knockout. Begins June 2 at La Jolla Playhouse. For more information on The Monsters, click here.

Review: THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE at Oceanside Theatre Company

Mon, 01 Jun 2026 10:58:10 PST

There is something undeniably charming about “The 25th Annual Putnam County Spelling Bee.” The musical takes a group of lovable oddballs, gives them a dictionary's worth of impossible words, and lets their hopes, insecurities, and personalities spill out in the process. Oceanside Theatre Company's production embraces that heart wholeheartedly, delivering a funny, sweet, and enjoyable production led by a strong ensemble cast.

“Spelling Bee” follows six middle school spelling champions as they compete for the title that will send them to the finals in Washington, D.C., while revealing the stories, pressures, and dreams that brought them to the stage. Along the way, the competition becomes less about winning and more about belonging, friendship, and believing in yourself.

The cast of “The 25th Annual Putnam County Spelling Bee"

This production is well cast and includes Em Danque as the confident and astonishingly accomplished Marcy Park, Cooper Ogden as the delightfully nerdy William Barfée, complete with his famous "magic foot" spelling technique, Amy Oliverio brings plenty of anxious energy and comic timing to Logainne Schwarzandgrubenierre, while Carly O'Rear gives Olive Ostrovsky a touching sweetness that anchors some of the show's most emotional moments. Luis Sherline is a likable and energetic Chip Tolentino, the returning champion whose confidence is quickly tested, and Wyatt Van Hazel is a ditzy joy as Leaf Coneybear, who, at times, chases his cape like an excited puppy discovering his tail.

Wyatt Van Hazel and cast of “The 25th Annual Putnam County Spelling Bee"

The adults overseeing the competition are equally entertaining. Sarah Jane Salonga is wonderful as the former spelling champion-turned-spelling-bee moderator, Rona Lisa Peretti. Her warm presence and beautiful vocals provide a steady center for the show, and she effortlessly guides both contestants and audience through the evening.

Dallas McLaughlin is fun to see back on the Oceanside stage after his memorable turn as a larger-than-life wrestling executive. Here, he is Vice Principal Douglas Panch, a reluctant judge whose hilariously terrible word definitions and example sentences are among the show's funniest jokes. As the evening progresses, McLaughlin allows Panch's softer side to emerge beneath the cynicism.

Riohn Jones rounds out the adult trio as comfort counselor Mitch Mahoney, tasked with escorting eliminated contestants away from the spotlight. He and Van Hazel also double as Logainne’s parents, whose parenting philosophies contribute to her overachieving stress.

Melissa Glasgow's direction and choreography keep the production lively throughout, finding playful ways to highlight each speller's unique personality. The movement is energetic, and it complements the show's quirky humor nicely.

The design team includes Michael Wogulis' scenic design, Sammy Webster's lighting, Grace Wong's costumes, and Geronimo Omabtang's sound design, creating the familiar atmosphere of a school auditorium while still allowing room for the flights of fancy that take place in the students' imaginations.

One of the show's most enjoyable features is its audience participation component. A few audience members are invited to join the spelling bee itself, creating spontaneous moments that change from performance to performance. If participating sounds appealing, be sure to let the theatre know when you arrive.

At its core, “The 25th Annual Putnam County Spelling Bee” is a celebration of awkward kids trying their best to find where they belong. Oceanside Theatre Company's production captures that spirit beautifully. Funny and heartfelt, it's a delightful reminder that sometimes the biggest victories have nothing to do with trophies—or correctly spelling "schadenfreude."

How To Get Tickets

“The 25th Annual Putnam County Spelling Bee” is playing at Oceanside Theatre through June 14th. For ticket and show times information, go to oceansidetheatre.org

Photo Credit: Oceanside Theatre Company

Review: RENT at Diversionary Theatre

Sun, 31 May 2026 22:16:44 PST

There are some shows that feel untouchable, which is why it takes a certain amount of courage or lunacy to approach a beloved musical and decide to reinvent it. Co-directors Sherri Eden Barber and Coleman Ray Clark do exactly that, taking some big swings with Diversionary Theatre's production of RENT, though where it falls on the scale is up to you.

Written by Jonathan Larson and based loosely on the 1896 opera “La Bohème”, RENT follows a year in the life of a diverse group of friends in 1990s New York City's East Village. Aspiring filmmaker Mark (Jonathan Sangster) lives with his roommate Roger (Gio Coppola), an aspiring musician, while squatting in a rundown building owned by their former friend Benny (David McBean). Neighbor Mimi (Maya Sofia Enciso) lives upstairs, while Mark's ex-girlfriend, performance artist Maureen (Michael Amira Temple) has moved on to her new girlfriend Joanne (Nio Russell), a highly educated lawyer. Meanwhile, Collins (Andre Heimos) is on his way to celebrate with Mark and Roger when he is robbed, but quickly rescued by the lovely Angel (Allen Lucky Weaver) while Faith Carrion and Adelaida Martinez play an assortment of characters throughout the show.

The show is not locked to the stage but instead ventures throughout the Diversionary footprint, with scenes taking place in various locations. The audience also has the option to move if they want, with an optional 16-minute immersive interlude that brings them into key moments, or they can watch it from the comfort of their theatre seat.

The cast of RENT
Photo Credit: Xing Photo Studio

The ensemble is small but talented, with most performers taking on multiple roles as needed.

Sangster has a great voice, and his Mark is funny, rebellious, supportive, and ultimately vulnerable. He also spends most of the show carrying an old-school camera mounted on a gimbal while wearing a jacket and scarf, so this performance doubles as a workout.

Coppola also delivers strong vocals, and his Roger feels less like an angst-ridden rock star and more like a guy who desperately wants everyone to leave him alone so he can process several life-altering emotional blows in peace. The balance he finds between Roger's anger, grief, and softer side makes the character more relatable. Sangster and Coppola share an easy chemistry throughout, and their second-act conflict lands effectively before leading into a powerful "What You Own."

L-R : Gio Coppola and Maya Sofia Enciso in RENT
Photo Credit: Xing Photo Studio

Enciso is a terrific Mimi, playful, sincere, and tragic, particularly in the show's final moments. She and Coppola have an engaging rapport from their first interactions, and you can immediately understand why Mimi intrigues Roger enough to venture outside his apartment and back into the world.

Heimos is a charming Collins with a sense of mischief and openness to the magic he finds in Weaver's Angel, making his second-act journey all the more heartbreaking. Weaver is expressive throughout, and I happened to be sitting directly across from them during "La Vie Bohème," making the playful interactions with both Angel and Sangster's Mark especially fun.

L-R : Michael Amira Temple and Nio Russell in RENT
Photo Credit: Xing Photo Studio

Russell is a powerhouse vocalist and an incredibly strong performer as the confident but also exasperated Joanne. Temple brings bravado, confidence, and anarchist swagger to Maureen, and the chemistry between Temple and Russell makes the couple truly work. Their "Take Me or Leave Me" is fantastic.

McBean is a worthy villain as the pretentious Benny, while also proving lovable in other roles. Carrion and Martinez do a tremendous amount of work throughout the production, each getting moments to shine, but their second-act "Voicemail #6" was particularly fun and clever, and had the audience cheering.

Nigel Semaj's choreography makes the most of the production's multiple locations while feeling familiar to RENT fans with just enough edge to keep things fresh. Music director Jerrica Stone leads an excellent band featuring Adam Snyder on guitar, Sean Collins on bass, Chris Potente on drums, and associate music director Kyle Adam Blair on keyboard.

Claire Peterson's costumes offer playful re-imaginings of the looks audiences expect. Mark doesn't wear the infamous striped sweater, but stripes follow him throughout the production, appearing on scarves and sweaters (and on Brooke Dalton’s sweater, who is the camera operator when Mark isn’t). Angel's Christmas look swaps traditional white accents for black, Mimi's "Out Tonight" costume abandons the signature blue while incorporating glow-in-the-dark elements, and Maureen’s protest outfit is colorful and does not shy away from making statements.

What truly distinguishes this production, however, is the direction. The choices on how and where to present the scenes, as well as the overall tone, look to bring new facets to this piece.

Barber and Clark strip away some of the musical theatre slickness and replace it with something messier and more emotionally raw. Often, the show has sung moments that feel acting-forward rather than singing-forward. Songs that audiences know by heart land differently because of it. "I'll Cover You (Reprise)," in particular, turns from a beautifully stand-and-deliver hymn to say goodbye into an emotionally raw moment of grief, set off by the direction, lighting, and performance.

Additionally, they layer technology throughout the show, using Mark's camera footage as an active storytelling device rather than something reserved for the finale. Technology has transformed everyone’s lives since this piece was created, and here it becomes a tool for multi-layered storytelling, allowing memory, emotion, and present reality to coexist. Though the production occasionally cuts to video more often than feels necessary.

Adding the technology is not a simple endeavor; it adds an enormous amount of complexity. The directors must compose shots and sightlines, and scenes for both the audience and the camera. Actors have to continually calibrate performances between the stage and close-up video. Lighting designer Annelise Schultz-Salazar accounts for not only performers and scenery but also the glow and presence of the screens themselves. Projection designer Nicholas Hussong and scenic designer Mathys Herbert create a world that is fluid enough to transform constantly while still grounding each location.

Kudos to sound designer Kevin Anthenill and associate sound designer Evan Eason for balancing so much - there is singing, the live band, indoor and outdoor environments, microphones, and even the "Without You" duet performed from separate locations while remaining perfectly synchronized. Also, shoutouts to stage manager Shannon Humiston and the entire crew for keeping this ambitious machine running.

There were a few technical hiccups during the performance I attended (a reality of any live show), and everything was worked through seamlessly to the audience's cheers.

The show takes big swings, and while not every choice landed for me, I would much rather watch artists take risks than play it safe.

If you are a RENT purist, then 1) I'm surprised you made it this far into the review, and 2) this production may not be for you.

But it's exactly this kind of creative reimagining that reminds us art is a living thing, and Diversionary's RENT is alive and well.

How To Get Tickets

RENT is playing at Diversionary Theatre through June 28th. For information on dates and showtimes, go to diversionary.org

Photo Credit: Xing Photo Studio

Cygnet Theatre Announces New Artistic Leadership

Sat, 30 May 2026 18:55:10 PST

Cygnet Theatre has announced that longtime artist Katie Banville will step into a new artistic leadership role beginning in July, deepening her impact on the organization after more than twenty years as a performer, choreographer, and director.

The company also announces the transition of four valued staff members, Catalina Maynard, Carlos Mendoza, Chad Ryan and Zoë Trautmann, further strengthening Cygnet’s artistic infrastructure.

Banville has been a defining artistic presence at Cygnet for a decade and a half. Her directing credits include tick, tick...BOOM! and The SpongeBob Musical which opens this June. She has also choreographed numerous productions at Cygnet including the inaugural production of Follies at The Joan and Natasha, Pierre and the Great Comet of 1812 for which she won a San Diego Critic's Circle Award. As a performer, she has appeared in Gypsy, Company, My Fair Lady, Man of La Mancha, Parade, and Cabaret.

Her work extends across the San Diego theater community, with choreography credits at organizations including The Old Globe, La Jolla Playhouse, Diversionary Theatre, Moonlight Amphitheatre, and New Village Arts, among others. As a director, her credits include productions with Okoboji Summer Theatre, Carlsbad Playreaders, and Grossmont College. She holds an MFA in Musical Theatre from San Diego State University. She joins Cygnet Theatre after her most recent tenure as the Chair of the Theatre Arts Department and Associate Professor at Grossmont College.

In her new role, Banville will direct and choreograph productions within Cygnet’s season while leading the development and execution of the company’s staged reading series and new work initiatives. She will collaborate closely with artistic leadership, including Producing Director Craig Campbell, on casting and season planning, and serve as a key liaison for artists and creative teams. Her work will also extend to supporting education and community programming, overseeing the theatre’s art gallery, and participating in donor engagement efforts as an artistic ambassador for the organization.

“Katie has been an integral part of Cygnet’s artistic identity for many years,” said Artistic Director Sean Murray. “Her deep understanding of our work, her collaborative spirit, and her commitment to nurturing artists make her an ideal fit for this role as we continue to grow.”

Katie shared, “For the past fifteen years, Cygnet has given me the chance to evolve as an artist, first as a performer and then as a choreographer and director. By taking on this new role, I hope to support and sustain a space for other artists to develop their own creative voices. In a world that feels increasingly chaotic, I'm grateful for the opportunity to connect with our community through stories that speak to our shared humanity.”

As part of this moment of organizational growth, Cygnet Theatre has also converted three long-standing contract positions into permanent roles. Catalina Maynard, who has worked as Cygnet's part-time Education Associate, will join the team as a full-time Education and Literary Developer. In this role, she will continue supporting the education department while also working on new play development and dramaturgy for all mainstage shows throughout the season. Catalina has been working alongside Education & Outreach Director Carlos Mendoza, whose role will be expanding to include Associate Artistic duties, including season planning. Carlos has been with Cygnet for over three years and has extensive directing and choreography credits in San Diego. He most recently directed Somewhere Over the Border as part of Cygnet's inaugural season at the Joan.

Additional full-time staff transitions include Chad Ryan, who has been named Lead Carpenter, and Zoë Trautmann who will serve as Associate Costume Shop Supervisor. Both have been essential contributors to Cygnet’s productions, and their transition to permanent staff reflects the company’s investment in its artistic operations.

These announcements come at an exciting time for Cygnet Theatre as the organization prepares for its second season in its new home at The Joan in Arts District Liberty Station.

A BAD CASE OF STRIPES: THE MUSICAL To Be Presented By San Diego Junior Theatre

Sat, 30 May 2026 17:38:03 PST

San Diego Junior Theatre continues its 78th season with A Bad Case of Stripes: The Musical, a whimsical and heartfelt adaptation of the beloved children’s book by David Shannon.

A Bad Case of Stripes: The Musical brings to life the story of Camilla Cream, a young girl who struggles with fitting in and finds herself literally transforming into a kaleidoscope of colors and patterns. Through catchy songs, playful storytelling, and a powerful message about self-acceptance, the show reminds us all that being different is something to celebrate.

Directed by Kandace Crystal, who captivated audiences last season with The Lion King, JR., the production blends high-energy staging with heartfelt moments. Music direction is led by Kira Blaskovich, known at JT for directing Sideways Stories from Wayside School, bringing a dynamic musical landscape that underscores the story’s emotional journey.

“This show is bursting with imagination, humor, and heart,” says Artistic Director, Joey Price. “At its core, it’s about the courage it takes to be yourself, even when it feels easier to blend in. It’s a message that resonates deeply with our young performers and our audiences alike.”

Featuring a talented cast of young performers ages 8 to 18, A Bad Case of Stripes: The Musical promises a world where individuality shines in every color of the rainbow. Audiences of all ages are invited on this joyful, color-filled journey that proves there’s no one quite like you—and that’s the very best thing to be.

A Bad Case of Stripes will run on Fridays at 7pm and Saturdays and Sundays at 2pm from June 26 to July 12, 2026. There will be no performance on July 4. JT’s popular Pajama Night is Friday, July 3. Kids attending in their favorite pajamas will get a special gift. Adults are encouraged to participate!

Junior Theatre will provide a sensory-friendly performance on Saturday July 11 at 11am for patrons with special needs. Please contact the box office for more information and to reserve tickets.

Junior Theatre will also provide an ASL-interpreted performance on Saturday, July 11 at 2pm. For optimal seating, members of the Deaf and Hard-of-Hearing community can purchase tickets in the red seating section online or reach out directly to the box office at boxoffice@juniortheatre.com.

All Junior Theatre productions are performed in Balboa Park’s historic Casa del Prado Theatre, 1600 Village Place, at the corner of Old Globe Way. Tickets are $20-22. Groups of 15 or more get $15 tickets by entering “GRP78” at checkout. Must purchase a minimum of 15 tickets in one transaction for discount to apply. To purchase tickets, visit Junior Theatre's website or by calling the box office at 619-239-8355.

La Jolla Playhouse to Launch Mobile Tech Theatre Program

Thu, 28 May 2026 16:45:52 PST

La Jolla Playhouse has revealed plans to develop and pilot the Mobile Tech Theatre Program, a new learning and engagement initiative that will deliver hands-on technical theatre training to schools, community centers, juvenile detention facilities, and other youth and military-serving organizations across San Diego County. Currently in early development, the Mobile Tech Theatre program will significantly expand the Playhouse’s commitment to education, access and community partnerships.

Mobile Tech Theatre aims to remove barriers related to transportation, space and access by providing immersive, on-site technical theatre workshops to students who may not otherwise experience the arts or learn about backstage career opportunities. The Playhouse has transformed a customized 2022 Ford Transit Cutaway into the Tech Theatre Mobile Lab, which serves as a vibrant, fully-equipped learning hub carrying industry-specific tools and equipment to community sites. Purchased with funds from a Parker Foundation grant, the vehicle is fully wrapped in Playhouse branding and outfitted by Show Imaging, Inc.

The Tech Theatre Mobile Lab made its public debut at the 2026 WOW Festival, which took place April 23–26 on the campus of the University of California, San Diego. A soft launch for invited school groups and a broader rollout in early 2027 will follow.

Students involved in the Mobile Tech Theatre program will participate in one-hour or half-day sessions focused on five core areas of theatre production: costumes, lighting, props, set design and construction and sound design. The mobile lab will include innovative storage for tools and materials, along with theatrical features that create an engaging and inspiring learning environment. Multimedia components will also allow students to explore Playhouse productions and creative processes as part of their experience.

The Mobile Tech Theatre program builds on the Playhouse’s Technical Theatre Training Program, which has been operating since 2014 and has served more than 400 students. Offered in various formats — including workshops for incarcerated and under-resourced youth through San Diego County’s Juvenile Court and Community Schools (JCCS), military community members and educators — the program provides vocational training, mentorship and exposure to professional theatre careers, with the JCCS-centered version particularly focused on demonstrating the significant and uplifting effects of creative, hands-on, skills-based learning for justice-impacted youth.

Recognizing the anticipated impact on the San Diego community, local and national funders are investing multiple-year grants for piloting and sustaining the program, including the Capdevilla Gillespie Foundation (three-year grant) and US Bank Foundation (two-year grant). Additional support provided by the Impact & Exploration Fund, a program of National Alliance for Musical Theatre, Day for Change and the Samuel H. French and Katherine Weaver French Fund.

During its pilot phase, Mobile Tech Theatre is expected to begin working with JCCS partners in late spring 2026, with plans to expand to additional schools and community centers in fall 2026, especially those lacking regular access to theatre or arts programming. Sessions will be led by trained teaching artists, supported by Playhouse staff and community partners, and guided by a customizable curriculum tailored to each group’s needs.

Beyond teaching technical skills, Mobile Tech Theatre supports the Playhouse’s broader Learning and Engagement mission to foster creativity, collaboration, problem-solving and confidence. Research shows that arts participation promotes empathy, civic engagement and workforce readiness, which are especially valuable for young people facing systemic barriers.

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.

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