BroadwayWorld.com Maine Stories

Interview: MSMT Launches Twelfth Season of PEEK BEHIND THE CURTAIN

Thu, 11 Jun 2026 16:05:24 PST

Maine State Music Theatre launched the twelfth season of its popular panel discussion series, Peek Behind the Curtain, with a spirited conversation about the theatre’s current production, HAIRSPRAY. A large crowd was on hand at the Curtis Memorial Library on June 10 to listen to two of the show’s stars, Charis Leos (Prudy Pingleton, Matron, Gym Teacher) and Tarra Conner Jones (Motormouth Maybelle) together with Artistic Director Curt Dale Clark and BWW moderator Carla Maria Verdino-Süllwold.

Added to the program format this year was a lightning round of short answer questions which added a little levity to the mix. The discussion focused on the continuing relevance of HAIRSPRAY, its messages of tolerance, inclusion, and love, the enduring qualities of its music, lyrics, and book, and the arcs of several of the characters.

Here are a few of the most eloquent and inspired comments from the panel:

Curt Dale Clark

The character of Corny Collins demonstrates that there have always been allies among us; he is a depiction of someone who wanted to try to help.
In the course of the show, Tracy learns to trust herself, to discover her own specialness, and she figures out that we are all in this journey together.
The message of HAIRSPRAY is listen to one another; love one another, and figure out a way to do it together. With the separation in this country now, it tells us that we all have work to do.

Charis Leos

The music in HAIRSPRAY is so joyful! [The kids] just want to dance together, and dance is nothing but joy. People do think and learn [when watching this show], but they also need to feel buoyant and have hope.
The comedy in HAIRSPRAY allows us to accept a character like Prudy Pingleton. There are some things in the script which I was horrified to have to say, but after conversations with our director, Kenny Ingram, I realized these stereotypes are necessary to show contrast, and if they were presented in a comedic way – an Archie Bunker kind of comedy – people might laugh, but they would be laughing at themselves. I think it’s good to hear some of those things out loud and have people ask themselves, “Oh, is that me?”

One of the beautiful things about Tracy is that she is so full of confidence, and that is because her parents have never made her feel “less than.”

Tarra Conner Jones

Every night when I take the stage to sing “I Know Where I’ve Been,” I honor those who came before me on whose shoulders I stand - my mother, my grandmother, the women of my church. I am only one generation away from the Civil Rights movement, and that is not lost on me. I try to sing [the song] as a human being, a black woman because that is who I am.
Marc Shaiman and Scott Wittman are iconic; they are, by far, one of the greatest writing teams. Their lyrics are infectious, and their music takes you into every genre with ease.
For me the message of HAIRSPRAY is that black women are people. We are to be loved, respected, included. This world was created for them, too. We have so much more in common than we have differences. We need to remember we are all in this together. We are so much better together than we are alone. And we need to love.

Clark asks Conner Jones to recite her poignant line from HAIRSPRAY, which sums up the sentiments the panel has been sharing.

“Love is a gift … So, you two better brace yourselves for a whole lotta ugly comin' at you from a never ending parade of stupid."

Photo courtesy of MSMT, Dane Whitlock, photographer

PEEK BEHIND THE CURTAIN was held on June 10, 2026, at Curtis Memorial Library, Brunswick. The program is offered free of charge. Next panel discussion will be devoted to 1776 on July 1, 2026 at 12 noon. For more information www.msmt.org Series sponsored by Wilcox Wellness & Fitness

Interview: John Treacy Egan On Playing Benjamin Franklin in 1776 at Maine State Music Theatre

Wed, 10 Jun 2026 13:20:42 PST

Maine State Music Theatre is bringing the Tony Award-winning musical 1776 to the Pickard Theater at Bowdoin College in Brunswick this summer, with performances running June 24 through July 11, 2026. Directed by Amber Mak in her MSMT debut, the production arrives as the nation prepares to mark its 250th anniversary, making the story of the debates surrounding the Declaration of Independence feel more timely than ever.

Making his MSMT debut as Benjamin Franklin is Broadway veteran John Treacy Egan, whose stage credits include Max Bialystock in THE PRODUCERS, Joey in SISTER ACT, Chef Louis in THE LITTLE MERMAID, and roles in JEKYLL AND HYDE, MY FAIR LADY, CASA VALENTINA, and NICE WORK IF YOU CAN GET IT. He also recently played Benjamin Franklin at Paper Mill Playhouse, bringing prior experience with the role to Brunswick.

Featuring a score by Sherman Edwards and a book by Peter Stone, 1776 transforms the heated debates surrounding independence into riveting musical theatre, with numbers including 'Sit Down, John,' 'Molasses to Rum,' and 'He Plays the Violin.' The production marks the first time MSMT has staged the show in more than 30 years, though the theatre's history with it dates back to 1972.

BroadwayWorld spoke with Egan about returning to the role of Franklin, working with director Amber Mak, and why this production of 1776 feels essential viewing in the summer of 2026.

What does it mean to you to make your Maine State Music Theatre debut in such a historically significant production, especially as the nation approaches its 250th anniversary?

I've been here for three days, and everybody is so lovely. I've had friends perform here who told me I was going to love it, and so far, they are right. It's so beautiful to be here in Maine, and I'm so happy to be performing in this incredible piece of theater again. The 250th birthday of America just makes the experience even more special.

This production of 1776 at MSMT marks the first time the show has been staged there in over 30 years, and the theatre has a deep history with it dating back to 1972. How does that legacy factor into how you approach this production?

This production is being presented in the style that it was originally created. There's a wonderful sense of tension in the way the play is written. I believe that seeing this story played out is important for all audiences to see. I'm sure the MSMT crowds are going to love the play that this musical inhabits.

You recently played Benjamin Franklin at Paper Mill Playhouse, and now you're bringing him to Maine State Music Theatre. What new layers or discoveries are you finding in the character as you revisit the role?

I find it, as always, a gift to return to a role that I have played. There's the luxury of knowing the dialogue and the music already, which gives you the freedom to be in the body of your character. You're less nervous about forgetting what you're going to say and are able to really relax into the thought process of the character.

Benjamin Franklin is known for his wit and charm, but 1776 also reveals his shrewd political instincts. How do you balance those qualities to create a fully dimensional portrayal?

He was known for some of his great quotes, which are spoken in this play. He was famously wise and humorous. The beauty of his comedy is that he just had to state the obvious. His sage advice still holds true today.

Director Amber Mak is known for visually dynamic and inventive staging. How has her approach to this production influenced how you're playing Franklin?

We've only just begun rehearsal, but Amber is a great communicator and very open as a director. She invites you to contribute. She is a little bit like Benjamin Franklin herself in the fact that she has great instincts and ideas as a leader.

1776 asks audiences to see the Founding Fathers as flawed, funny, and very human. Why do you think that humanizing approach is so important, particularly right now?

I think it's very important for the audience to see these men trying to work things out. Conclusions always require compromise. They were men, no more, no less, and as Benjamin Franklin says, not gods. It was brave of them to come together, and stand against the tyranny of a leader and build a country against all odds.

For audiences in Brunswick and across Maine who may be seeing 1776 for the first time, what do you most hope they take away from this production?

I hope they will love it, and appreciate it as much as the actors and the company here at MSMT feel about the piece. Again, it's an incredibly well-written play with some charming music. I hope it's a sellout. Everyone needs to see it.

1776 runs June 24 through July 11, 2026 at the Pickard Theater, Bowdoin College, Brunswick, Maine. Tickets are available at msmt.org or by calling the MSMT Box Office at 207-725-8769.

Video: 'I Know Where I've Been' from HAIRSPRAY at Maine State Music Theatre

Wed, 10 Jun 2026 12:43:41 PST

Maine State Music Theatre has released a performance clip capturing Tarra Conner Jones delivering "I Know Where I've Been," the Act Two showstopper from the company's current production of HAIRSPRAY. The video offers a glimpse of a moment that has drawn standing ovations from audiences throughout the run.

HAIRSPRAY is based on John Waters' cult classic 1988 film. "I Know Where I've Been" stands as one of the musical's most emotionally resonant numbers and has proven a highlight of the MSMT engagement.

The MSMT production is directed and choreographed by Kenny Ingram and represents a co-production with the Fulton Theatre in Lancaster, Pennsylvania. As previously reviewed on BroadwayWorld, the production blends Broadway veterans with MSMT regulars and emerging professional talent across its company. HAIRSPRAY runs through June 20.

The production has generated considerable local interest throughout its run. BroadwayWorld also reported on a recent performance in which understudy Maria Boissonneault stepped into the role of Tracy Turnblad, earning a warm reception from the audience.

Click Here to Play!

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.

Review: SHREK THE MUSICAL at Maine State Music Theater

Mon, 08 Jun 2026 15:39:00 PST

A giant green man with a booming brogue, a talking donkey, a wooden boy with a long nose, a wolf in granny skirts…. These are the loveable misfits who commandeer MSMT’s stage in the Jeannine Tesori- David Lindsay-Abaire classic SHREK THE MUSICAL that runs for four delightful performances at the Pickard Theater on June 8. The musical,based on the DreamWorks original movie, features witty lyrics, catchy tunes, and a heartwarming story, about acceptance, individuality, and inclusion.

Director Betsy Puelle finds the quirky humor and underlying tenderness of the tale, and she is especially good at inspiring these young actors to do their best work. Aided by

the spirited choreography of Raymond Marc Dumont (assisted by Joshua Bellamy), the characters find individually appropriate movement, and the ensemble enjoys a number of lively dances. Music Director Andrew Becker invests the score with energy and vibrancy.

Puelle also designs the décor, using her signature style of colorful set pieces which suggest a storybook feel. These are enhanced by Ryan Joyner’s stunning projections that create an opulent fantasy world, and by the lighting design of Courtney Smith, which adds to the atmospheric palette of the story. A case in point where are all these designers’ work coalesces is the truly magnificent appearance of the dragon in the final moments of the production. SHREK is a work in which props play a major role. Prop Master Duck Bracey has created an array of inventive, clever pieces, notably Farquaad’s steed, and the Dragon puppet, the that have an animate life of their own. Sound design is ably supplied by John Russell, who manages both the balance and the special effects with skill. Costume Designer Kevin Hutchins (Wigs & Makeup, Letta the Queen)has huge fun bringing to life the various fairytale characters. As Stage Manager, Frankie Mastras expertly coordinates all the moving parts.

The cast exhibits cohesiveness, exuberance, and a wicked sense of fun. Owen Saalfrank inhabits the role of Shrek with gusto, voicing the part in a perfect Scottish brogue. He is big voiced, maladroit, and completely endearing; moreover, he possesses powerful vocal resources that get to shine in songs like “Big, Bright Beautiful World.” As his sidekick Donkey, Keehnon Jackson delivers a deliciously funny, sweet, animated performance. A mesmerizing dancer whose every movement is lithe, fluid, evocative, he also demonstrates his impressive vocal range. Grace Browning captures Princess Fiona’s dual nature – sweet and feisty, and determined to hold her own against the men in the world. Her duets with Shrek are pleasingly sung, as is her solo, “Morning Person.” Aden Pettet,as Lord Farquaad, spoofs the traditional fairytale Prince, making Farquaad amusingly narcissistic, and riotously funny as he navigates the challenge of performing on his knees, while his “Ballad” demonstrates his vocal gifts.

Other outstanding portrayals include Marguerite Benham’s boyish, well-sung Pinocchio; Sebastian Gonzalez-Layton booming voiced, slightly fey, Big Bad Wolf;Audrey Andrews’ zany Witch; Lucy Ferguson’s powerful vocals as the Dragon.

Some lovely vocalism and dance come from Lily Philbrook and Lexi Largay as the Young Fionas, ensemble members, Maria Boissonneault, and Maxwell Creedon as Mama and Papa Ogre, and Nicole Fava as a pert Mama Bear.

Rounding out the sprightly ensemble are Ali Largay, August Flynn, Maddie MacLearn, Garrett Lynn, and Sadie Cairns.

Last performed here in 2014, this new revival illustrates the huge strides MSMT has made over the last twelve years with these Theatre for Young Audiences productions. SHREK showcases the new level of technology that underpins the visual productions and the ever growing depth of young professional talent who populate this series as performers and creatives. Much

of the credit for these advances belongs to Artistic Director Curt Dale Clark, whose commitment to building young audiences and nurturing young professional artists is an integral part of the strength and uniqueness of the company. Clark’s unerring eye for talent, his relentless search in thousands of auditions each year, and his vast network within the Broadway and regional communities are some of the invaluable resources that help shape what Maine State Music Theatre is today.

Photos courtesy of MSMT, Dane Whitlock, photographer

SHREK THE MUSICAL rran for 4 performances on June 8, 2026, at MSMT’s Pickard Theater on the campus of Bowdoin College www.msmt.org 207-725-8769

Theater at Monmouth Cancels 2026 Season

Mon, 08 Jun 2026 05:27:55 PST

The Theater at Monmouth has announced the cancellation of its previously announced summer 2026 season. A statement from the company reveals that, after reviewing their finances, the company is "not in a position to responsibly mount our productions this year."

The statement goes on to say that In the months ahead, the Board will be looking into different operational models to allow the theater to continue to produce shows, but notes that they are "not able to make promises about the future at this time."

Ticket holders and subscribers will be contacted directly in the coming weeks. Refunds are available for all 2026 tickets and subscriptions. For those who wish to support the Theater through this period, staff will also be available to discuss other options.

Read the full statement below:

To our audiences, artists, and friends across Maine and beyond,

Reluctantly, the Board of Trustees has determined that Theater at Monmouth will not present a summer season in 2026. After a careful review of our finances, the Board has concluded that we are not in a position to responsibly mount our productions this year.

This was not an easy decision to make. For more than fifty years, the work of the Theater has drawn generations of Mainers and visitors through the doors of Cumston Hall.

We owe our community honesty about why, and about where things stand. Like many small arts organizations, we have faced rising production costs alongside revenue that has not kept pace. We have reached a point where producing our regular summer season as planned would put the institution itself at risk.

In the months ahead, the Board will be evaluating the path forward, including different operational models for the Theater. We want to be candid that we are not able to make promises about the future at this time, but as we explore our options, we do so with the hope of inviting you all to once again gather in Monmouth.

News Flash: Local Actress Takes On Lead in MSMT's HAIRSPRAY

Fri, 05 Jun 2026 23:20:23 PST

Understudies have always been important members of a theatrical company, but since the pandemic, they have become invaluable.

Last night at Maine State Music Theatre, Maria Boissonneault, the understudy for Tracy Turnblad, HAIRSPRAY’s heroine, made a scheduled appearance in the role on the evening of June 5th, and the audience welcomed her warmly. Raised in Portland, ME, who has performed in previous years in some of MSMT’s Family Series productions and special events like the ROCKY HORROR SHOW, Maria Boissonneault made Maine and MSMT, proud with her powerfully sung, completely joyful and touching portrayal of Tracy.

Boisonneault possesses a striking mezzo with a strong belt and high extension. She was vibrantly captivating in “Good Morning Baltimore,” touchingly lyric and longing in “I Can Hear the Bells,” and ebullient in the rousing finale, “You Can’t Stop the Beat.” She portrayed the teenage heroine with a combination of sweetness and vulnerability and an unaffected sincerity that made the evening very much her own.

MSMT has long history of identifying and nurturing young performers chosen from across the country, and occasionally from Maine. Maria Boissonneault is a product of this tradition and a reason for the company to rejoice.

Review: HAIRSPRAY is An Anthem to Optimism and Change

Fri, 05 Jun 2026 00:54:56 PST

From the joyful opening number, “Good Morning, Baltimore,” to the to the rousing vibrancy of the finale, “You Can’t Stop the Beat,” Maine State Music Theatre’s revival of HAIRSPRAY, a co-production with Lancaster, Pennsylvania‘s Fulton Theatre, which opens the 2026 season, offers the audience pure optimism and joy. Despite - or perhaps because of - the more serious underlying themes that the musical tackles such as racism, segregation, body positivity, and inclusion - HAIRSPRAY remains the perfect theatrical evening where entertainment and inspiration combine.

This new production, directed and choreographed by Kenny Ingram with a superbly talented cast that features an extraordinary blend of Broadway, MSMT veteran, and young professional talent invites audiences to marvel at the company’s artistic range and to revel in an exquisitely delightful evening’s entertainment.

The Marc Shaiman-Scott Wittman 2002 musical, though it is a period piece set in the 1960s, vibrates with contemporary resonance. The score’s catchy tunes, clever lyrics, infectious beat, and pure exuberance combine to tell a compelling story using both humor and touching warmth.

Ingram delivers his customary blend of fast and fluid pacing, effervescence, high octane choreography, (Christopher Page-Sanders, Associate Choreographer) and a keen instinct for the heart of the story. Music Director David Fiorello leads the nine-piece orchestra in a performance that sparkles.

The visual production is colorful, crisp and seamlessly flowing thanks not only due to the direction, but also to the staging that frequently uses two locales simultaneously, as well as the masterful use of MSMT’s video technology. Jeffrey D. Kmiec’s (Props. Katelin Walsko) decor consists of carefully, chosen set pieces enveloped by Luis Garcia’s projections, which capture the pop and political vibe of the 1960s. The Sam Biondolillo’s lighting design adds to the nuanced palette, while Cody Von Ruden‘s costumes and Kevin S. Foster II’s bold wigs, capture the spirit and the look of the era in their silhouettes and confectionary palette. The overarching aesthetic uses rapidly morphing bold hues often overlaid with a cotton candy haze that suggests the television image. The projections range from period video of old advertisements to the poignant Civil Rights montage that accompanies Maybelle’s eleven o’clock number. There are clever homages to the origins of this story in the John Waters’ film, as well as a tongue-in-cheek nod to a celebrated former MSMT Corny Collins to kick off the festivities.

MSMT’s twenty-eight-person cast is a cohesive and staggeringly triple-threat-talented one. As the teenage heroine Tracy Turnblad, Eden Franco makes a stunning MSMT debut showcasing her powerhouse vocal ability and bringing to the role all the perkiness determination, and underlying sweetness it demands. From her first belt in “Good Morning, Baltimore,” to the velvety lyricism of “I Can Hear the Bells,” to sheer vigor of the finale, this is a remarkable performance in every way.

As Edna Turnblad, Robert Anthony Jones gives a commanding portrayal of Tracy‘s introverted, shy, compassionate mother, and he demonstrates the vocal, dance, and comedic prowess to match. Joel Newsome proves a gentle, goofy, but endearing Wilbur Turnblad, whose touching duet with his wife in “Timeless To Me” and their accompanying dance is most amusing and heartwarming.

Trevor Wayne makes Link Larkin a hip teen idol whose transformation to a young man with more substance and understanding is believable. A lithe dancer, he impresses vocally in both the rock numbers and his declaration of love to Tracy. Dan DeLuca makes a suave Corny Collins, who ultimately displays some backbone in navigating the politics of his television show.

As Velma, Amy Bodnar is appropriately, domineering and unethical, while Tori Heinlein plays her ambitious daughter Amber with grating perfection as the spoiled little princess her mother expects her to be.

Lawrence Flowers imbues Seaweed with feline grace; he is a sharp dancer and a stunning vocalist, who lights up the stage in his song and dance moments. Mikayla White is a bundle of electric energy and wisdom beyond her years as Little Inez. Tarra Conner Jones, as a fiercely strong and passionate Motormouth Maybelle, is nothing short of a force of nature; on opening night when she delivered her showstopping, soulful, bone-chilling rendition of “I Know Where I’ve Been,” the audience jumped to its feet mid-performance for a long ovation.

Charis Leos once again demonstrates her mastery as a comedienne, playing several characters including Prudy Pingleton, the Gym teacher, and the jail matron with impeccable delivery and timing and a deliciously dark – but also, in the case of Prudy, poignant - sense of humor. Eileen Ray Brady convincingly portrays her daughter Penny’s transformation from shy, gawky teenager to an attractive, determined young lady in love with touching sincerity.

Other notable moments are delivered by the trio of Dynamites (Mya Rena Hunter, Brianna Marie Johnson, and Erica Wilkins) and Peter Matthew Smith, who delineates some clever cameos as Mr. Pinky, Harriman Spritzer, and the Principal.. Rounding out the cast is an ensemble who sing and dance their hearts out with a combustible electricity.

At its best, musical theatre is a medium that communicates in a magical and entirely unique manner. When this incomparable MSMT company, joined by a joyful audience, explode into the finale, declaring “You Can’t Stop the Beat,” everyone experiences a visceral moment that speaks directly to the heart. In HAIRSPRAY’s anthem for acceptance, inclusion, and change, there is a timeless affirmation of the bonds of community and of our common humanity.

Photos courtesy of MSMT, Jared Morneau, photographer

HAIRSPRAY runs from June 3- June 20, 2026, at MSMT’s Pickard theater on the campus of Bowdoin College, 1 Bath Rd., Brunswick, ME 207-725-8769 www.msmt.org

GOOD VIBRATIONS: A Celebration of the Beach Boys to Play The Public Theatre

Thu, 04 Jun 2026 22:22:43 PST

The Public Theatre in Lewiston will present Good Vibrations: A Celebration of The Beach Boys for three shows only on June 20 & 21. Much more than just your typical tribute band, Good Vibrations celebrates the legacy and spirit of the legendary California icons by re-creating all of their classic music and timeless sounds of summer LIVE on stage!

This high energy production brings the days of sun, surf and cars vividly back to life with all the famous anthems, surf guitar shreds and ocean-deep harmonies faithfully re-produced right before your eyes and ears exactly the way you remember them.

Jared Mancuso and Nick Gallardo last appeared at The Public Theatre in their show, Forever Everly: The Everly Brothers Rockumentary. They are joined by three more talented musicians to bring the music of The Beach Boys to life in Good Vibrations.

Featuring all of the signature hits including: Surfin' USA, I Get Around, Help Me Rhonda, California Girls, Wouldn't It Be Nice, Fun, Fun, Fun, Barbara Ann, Kokomo, and of course, the classic – Good Vibrations, this is a show guaranteed to have you on your feet, dancin' and singin' along to some of the world's most beloved music.

A free pre-show Beer Sampling event is included in your ticket to the Saturday, June 20 7:00 pm show. Come early and taste a selection of beers, compliments of Baxter Brewing.

Good Vibrations: A Celebration of The Beach Boys will be performed at The Public Theatre on Saturday, June 20 at 2:00 pm & 7:00 pm, and Sunday, June 21 at 2:00 pm. Tickets are $40-50. Discounted tickets for 35 Below Members and Groups of 10 or more.

GOOD VIBRATIONS: A Celebration of the Beach Boys to Play The Public Theatre

Thu, 04 Jun 2026 22:22:43 PST

A free pre-show Beer Sampling event is included in your ticket to the Saturday, June 20 7:00 pm show. Come early and taste a selection of beers, compliments of Baxter Brewing.

BroadwayWorld Launches Producer Fantasy Game

Tue, 09 Jun 2026 11:00:05 PST

Ever watched the weekly Broadway grosses roll in and thought you could pick the winners? Now you can put it to the test. BroadwayWorld has launched the Producer Fantasy Game, a free, season-long competition that lets theatre fans build a roster of Broadway shows and earn points based on how those productions actually perform at the box office. The draft window is open now.

How It Works

The setup is simple. During the draft window, you pick any six Broadway productions that opened this season. Drafting is non-exclusive, so there is no need to race a rival for a hot title. Any number of players can roster the same show.

From there, your shows go to work for you. Every week, each production on your roster earns fantasy points based on its reported box office grosses and capacity percentages. When Tony, Drama Desk, Drama League, and Outer Critics Circle nominations and wins are announced, your shows bank bonus points on top of that. And each week you can answer our Fantasy Forecast prediction questions for up to five bonus points per correct call.

Weekly Scoring

Each week, a show earns one base point for every $50,000 it grosses, so a $1 million week is worth 20 base points. On top of that, shows can earn bonuses: up to five points for filling seats (based on how close to full capacity the house ran), six points for grossing $2 million or more (or three points for grossing between $1 million and $2 million), and eight points if its gross jumped at least 15 percent from the week before. A show loses four points if its gross dropped at least 15 percent. If a show goes dark and reports no gross for a week, it scores zero for that week with no penalty.

The Fantasy Forecast

The Producer Fantasy Game is really two games in one. The first is the box office game: drafting shows and earning points from their weekly grosses and awards. The second is the Fantasy Forecast, a weekly set of prediction questions about what's happening on Broadway, where each correct answer is worth up to five points. You can play one or both.

We track them separately so you can shine at either. Your Producer score covers the box office game, your Forecast score covers your prediction results, and your Combined score adds the two together for the overall championship ranking. The leaderboard lets you toggle between Overall, Producers, and Forecasters, so a sharp predictor can top the Forecasters board even during a rough season for their roster, and a roster powerhouse can lead the Producers board without answering a single question.

Managing Your Roster

Your lineup stays at six shows all season, and you have plenty of room to maneuver. You get one free drop every week, three additional season drops to use anytime before the trade deadline, and free replacements whenever a show on your roster closes. New productions open throughout the season and become available the moment they start reporting grosses, so it pays to keep a transaction in your pocket for that buzzy new opening.

Join the Game

The Producer Fantasy Game is free for all BroadwayWorld users, and you can join any time the draft window is open. Draft within the first two weeks of the season and your roster is scored from opening week, so the earlier you get in, the more weeks you bank. Build your roster, make your predictions, and start climbing the leaderboard today.

Video: Watch 'What Becomes of the Brokenhearted?' From AIN'T TOO PROUD at Ogunquit Playhouse

Thu, 04 Jun 2026 14:48:26 PST

Watch a video of Charl Brown performing "What Becomes of the Brokenhearted?" from Ain't Too Proud at Ogunquit Playhouse.

In the video, Otis Williams (Charl Brown) memorializes his brothers in arms (Josh Marin, Justin Showell, Blaine Alden Krauss, and Warren Egypt Franklin) who sacrificed individually and collectively on The Temptations road to stardom.

The cast of Ain't Too Proud will star Tony Award nominee Charl Brown (Broadway’s Motown the Musical) as Otis Williams, Warren Egypt Franklin (Hamilton Nat’l Tour) as Melvin Franklin, Blaine Alden Krauss (Broadway’s The Cher Show) as Eddie Kendricks, Josh Marin (Hamilton Nat’l Tour) as David Ruffin, and Justin Showell (Broadway’s Floyd Collins) as Paul Williams.

The cast will also feature Stephen Cerf (Broadway’s Jersey Boys), Tymothee Harrell (Orlando the Musical), Antonio King (Jersey Boys Nat’l Tour), Kyle Kobetsky (Bristol Valley Theater’s Little Women The Musical), Kris Lyons (OP’s When Elvis Met The Beatles), Rodney McKinner III (Rent in Concert Tour), Felicia Martis (Ain’t Too Proud Nat’l Tour), Alexandria Reese (Riverside Theatre’s Beautiful the Carole King Musical), Owen Scales (The Muny’s Dreamgirls), Joey Stone (Broadway’s Motown the Musical), Brett Sturgis (Broadway’s On Your Feet!), Justin Terrell (Chicago Nat’l Tour), and Khalifa White (NYC’s Little Shop of Horrors).

Ain't Too Proud is directed by Gerry McIntyre (OP’s The Cher Show, Chicago) with Choreography by Rachelle Rak (Velma Kelly in OP’s Chicago), Music Supervision by Kenny Seymour (Broadway’s Ain’t Too Proud), Music Direction by Seth Farber (Broadway’s Soul Doctor), Original Scenic Design by Robert Brill (Broadway’s Ain’t Too Proud), Original Costume Design by Paul Tazewell (Broadway’s Ain’t Too Proud), Lighting Design by Richard Latta (OP’s Guys and Dolls), Sound Design by Kevin Heard (OP’s Guys and Dolls), Wig/Hair & Make-Up Design by Luna/">Roxanne De Luna (OP’s Titanic), and Projection Design by Peter Nigrini (Broadway’s Ain’t Too Proud). Tyrone Jackson (Broadway’s Memphis) is the Associate Director, and Carina-Kay Louchiey is the Associate Choreographer. Daniel Everett (OP’s Waitress the Musical) is the Production Stage Manager. Casting is by ARC.

Click Here to Play!

Photo Exclusive: LES MISERABLES At Tuacahn Amphitheatre

Wed, 03 Jun 2026 23:55:40 PST

BroadwayWorld has your first look at Tuacahn Amphitheatre's production of LES MISÉRABLES, now playing in the Outdoor Amphitheatre as part of the theater's 2026 season.

Directed by Sarah Hartmann, the production marks Tuacahn's return to the musical following the company's 2008 staging. Based on Victor Hugo's novel, LES MISÉRABLES follows former prisoner Jean Valjean as he seeks redemption while being pursued by Inspector Javert against the backdrop of 19th-century France.

Featuring songs including "I Dreamed a Dream," "One Day More," "Bring Him Home," and "On My Own," the musical remains one of the most frequently produced works in musical theater.

Photo Credit: Leavitt Wells

LES MISERABLES At Tuacahn Amphitheatre

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)

Beth Leavel, Matt Doyle, Ruthie Ann Miles & More to Star in HELLO, DOLLY! at Ogunquit Playhouse

Thu, 28 May 2026 12:45:22 PST

Ogunquit Playhouse has revealed the full cast and creative team for Hello, Dolly!, featuring a book by Michael Stewart and music & lyrics by Jerry Herman. Performances begin Thursday, June 18 with a limited run through July 18, 2026.

Tony Award-winner Beth Leavel (Broadway’s The Drowsy Chaperone, The Prom) will star as Dolly Levi, with Tony Award-winner Matt Doyle (Broadway’s Company) as Cornelius Hackl, Tony Award-winner Ruthie Ann Miles (Broadway’s The King and I) as Irene Molloy, and Adam Heller (OP’s Little Shop of Horrors) as Horace Vandergelder.

Hello, Dolly! will also feature David Benoit (OP’s Titanic) as Rudolph, Susana Cordón (Pittsburgh CLO’s Sister Act) as Minnie Fay, Emma Crow (Broadway’s The Music Man) as Ermengarde, Davey Fried as Barnaby Tucker, Ryan Lambert (The Muny’s Frozen) as Ambrose Kemper, and Jessica Sheridan (OP’s My Best Friend’s Wedding) as Ernestina.

The ensemble will include Jared Alequin, Faith Jordan Candino (OP’s Crazy for You), Joanna Carpenter (Broadway’s Sweeney Todd), Rhagan Carter (Paper Mill’s White Christmas), Sydney Chow (The Muny’s Chess), Connor Harman (Seacoast Rep’s Newsies), Marcel Joshua (Fireside Theatre’s The Addams Family), Sandra Valeska Orozco, Brett Pederson (North Shore Music Theatre’s Cinderella), Daryn Polzin (OP’s White Christmas), Charlie Ray (Paper Mill’s Disney’s The Little Mermaid), Michael J. Rios (Hello, Dolly! 50th Anniversary Tour), Aaron Robinson (OP’s Titanic), and Anna Speer (Chicago Nat’l Tour).

Hello, Dolly! is directed by Maggie Burrows (The Muny’s Jersey Boys) with Choreography by William Carlos Angulo (CTG’s Here Lives Love), Music Direction by Matthew Deitchman (OP’s The Nutty Professor), Scenic Design by David Arsenault (OP’s An American in Paris), Costume Design by Leon Dobkowski (Paper Mill’s 1776), Lighting Design by Richard Latta (OP’s Ain’t Too Proud), Sound Design by Kevin Heard (OP’s Ain’t Too Proud), and Wig/Hair & Make-Up Design by Luna/">Roxanne De Luna (OP’s Ain’t Too Proud). Tia Harewood-Millington (Paper Mill’s Gun & Powder) is the Production Stage Manager. Casting is by ARC.

This blockbuster Broadway hit bursts with humor, romance, high-energy dancing, and some of the greatest songs in musical theatre history. Join socialite-turned-matchmaker Dolly Levi as she travels to Yonkers, New York to find a wife for the curmudgeonly “half-a-millionaire” Horace Vandergelder. Dolly’s romantic scheming soon entangles Horace’s two clerks and a lovestruck young artist. As she busies herself finding mates for the suitors, Dolly realizes it’s her turn to find her own perfect match. One of the most entertaining musical comedies of all time, Hello, Dolly! is a beguiling romp in the universal search for love, with smash hits like “Put On Your Sunday Clothes,” “Before the Parade Passes By,” and, of course, the show-stopping “Hello, Dolly!”

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.

Bees Deluxe to Perform at MONDAY NIGHT BLUES Concert Series

Fri, 22 May 2026 17:53:20 PST

On Monday, May 25, Park St Grille at 1 Park Drive will welcome Bees Deluxe to the Monday Night Blues Concert Series for an evening of explosive modern blues, sharp musicianship, and adventurous reinterpretations of classic songs.

Park St Grille, a locally owned restaurant known for its fresh food, award-winning margaritas, and lively Monday night blues tradition, has built a reputation as a destination where local music fans gather to dance, listen, and celebrate the spirit of live blues.

Bees Deluxe, a British/American modern blues band, recently earned recognition as semi-finalists in the International Blues Challenge in Memphis 2026 and winners of the 2025 New Hampshire State Blues Challenge. The band is known for its inventive originals and bold reworkings of songs associated with Billie Holiday, B.B. King, Etta James, Otis Rush, Burt Bacharach, Joe Zawinul, and other legends.

Their sound is rooted in tradition yet unmistakably forward-looking. Blues Blast Magazine described the band as "what might happen if Freddie King took a lot of acid then wrote a song with Pat Metheny and asked a strung-out Stevie Ray Vaughan to take a solo."

Touring from Maine to Miami, Bees Deluxe have shared stages with Ronnie Earl, Joanna Connor, Joanne Shaw Taylor, Walter Trout, Matt Schofield, Mike Zito, Roomful of Blues, and other top-tier artists. Their performance history includes appearances at Madam's Organ, The Lizzie Rose Music Room, Jamey's House of Music, Boston City Winery, Stitch Bar & Blues, Earl's Hideaway, Cleveland House of Blues, The Cutting Room, Shrine World Music Venue, and Freddy's Bar.

BWW Q&A: Trevor Wayne Stars as Link Larkin in HAIRSPRAY at Maine State Music Theatre

Tue, 19 May 2026 16:40:37 PST

Here's the complete Q&A in one block ready to copy:

Trevor Wayne Stars as Link Larkin in HAIRSPRAY at Maine State Music Theatre

The Tony Award-winning musical kicks off MSMT's 2026 Mainstage season, running June 3–20

Maine State Music Theatre launches its 2026 Mainstage season with HAIRSPRAY, running June 3 through June 20, 2026 at the Pickard Theater on the campus of Bowdoin College in Brunswick, Maine. Produced in partnership with the Fulton Theatre of Lancaster, Pennsylvania, the production is directed and choreographed by Kenny Ingram, with music direction by David Fiorello. Set in 1962 Baltimore, the Tony Award-winning musical follows Tracy Turnblad, a teenager with big dreams and even bigger hair who lands a spot on The Corny Collins Show and uses her newfound platform to challenge segregation. Featuring a score that includes "Good Morning Baltimore," "I Can Hear the Bells," and "You Can't Stop the Beat," the show is a celebration of self-love and social change.

BroadwayWorld spoke with Trevor Wayne, who stars as Link Larkin in his MSMT debut. Wayne was recently part of the Broadway company of The Outsiders, of which he is a proud original cast member.

You've recently been part of The Outsiders on Broadway, which also explores youth culture in the 1960s — but in a very different way. How do you see Hairspray and The Outsiders speaking to that era differently?

I think if you're someone who's seen both shows, they kind of speak for themselves. But obviously, The Outsiders shows a grittier, more real-world viewpoint from the youth of the 60s. I mean, it was literally written by SE Hinton because she was pissed at the world. I feel that The Outsiders made a point of showing that young people lacked control over most things. But a few things they did have control over could really mean the world to someone. Like whom you chose to love and support to the end. While Hairspray shows how much potential influence the youth truly has to make big changes. Both prove true to a certain degree even today.

What stands out to you about how Hairspray portrays young people and their role in social change?

I feel like Hairspray makes the plain truth that youth is an unwavering, unstoppable force for the future. Regardless of whether their choices or beliefs are good or bad, what they have to say to a degree almost matters the most. And in Hairspray's case, I would agree that their choices towards the end of the show are obviously correct, especially when it comes to the theme of racism and the ostracization of people who don't fit the mold. People are people, baby! Love others!

Hairspray is known for its energy and message — what do you think makes it resonate so strongly with audiences today?

Hairspray is definitely known for its energy and message. But there are plenty of other shows and pieces of art that give the same message with similar energy. Hairspray is not only known for that, but it's absolutely goated music and incredible/hilarious writing. All of which is told in a one-of-a-kind, extremely digestible form, package, and message.

Why do you think this show continues to feel so relevant?

Any story about an underdog or an outsider that's told well is always gonna hit home with people. We're people. Everyone in their life has felt like Tracy, or Lil Inez, or Seaweed, or even Link!

You've built a pretty passionate fan base — what does that support mean to you?

My fans are the coolest, dopest, most valid homies in the world. I'll never "need" any fans...I'd even do theater for free if that was the only option. But knowing there are people out there who like what I do enough to show up and show out is a blessing beyond belief for real… A little shocking even.

Do you feel that energy from fans when you're performing live?

My fans are not only cool and dope but also loud. So heck, yes, and I promise to continue hyping them up just like they be doin' with your boy.

What do you hope your fans take away from seeing you in Hairspray?

I pray they see a groundedness in my Link that I've been working really hard to manifest. I genuinely want them to feel that Link can absolutely be a real person that they might even know in real life. Though he can definitely be a goof when he's in love.

Why should audiences come see Hairspray this summer?

I feel like Hairspray is the perfect summer show. And this cast, crew, and creative team have been grinding nonstop to make it worth watching. Plus, I'm in it! Come on y'all, come vibe with me!!

What are you most excited for audiences to experience?

Excited for them to hear these cast members' voices. I promise y'all aren't ready. Cause I definitely wasn't, and that's after I listened to Alexander Grayson sing every day.

If you could describe this production in three words, what would they be?

Made with love.

Hairspray runs June 3–20, 2026, at the Pickard Theater, Bowdoin College, Brunswick, Maine. Tickets and subscriptions are on sale now at msmt.org or by calling 207-725-8769.

Interview: Eden Franco Talks HAIRSPRAY at Maine Street Music Theatre

Tue, 19 May 2026 10:20:46 PST

When HAIRSPRAY begins its run at Maine State Music Theatre on June 3, the new revival, created as a co-production with Lancaster’s Fulton Theatre, will be an evening of professional firsts for its young star, Eden Franco, who plays the demanding role of the musical’s protagonist, Tracy Turnblad. For Franco, who was graduated from college only two years ago, this production marks her first professional contract, her first experience in regional theatre, her debut in Maine, and her role debut in the Marc Shaiman-Scott Wittman musical.

But, as Franco recalls, “I have always loved HAIRSPRAY. I grew up watching the original [John Waters] movie and the [John Travolta] remake. I saw the stage show on tour, and I have always been drawn to it and the character of Tracy. The role is a marathon that can be compared to Elphaba, for example. She is onstage for almost the entire show, and the role requires crazy physical and vocal strength. Growing up, I loved seeing a character who looked like me on stage; it made me feel I could do that – act, dance, sing – too. But, I could also relate to her perseverance. I am a strong minded girl, and a lot of Tracy is reminiscent of who I am as a person. So, it has been nice to feel challenged by the physicality of the part, but feel at home in the singing and dialogue. I feel so very much myself doing the part, and that is really nice!”

Though this production is Franco’s first professional gig as an actor, she recounts how music and musical theatre have always been part of her life. “I come from a musical family. My mom is a cantor; my Dad’s sister was an opera singer, and my grandmother was a ballet dancer, and being raised in New York (Long Island), I had the opportunity to see many Broadway shows. I played piano from an early age, have perfect pitch and can sight read easily.”

Franco says she was always performing for fun from a young age, but it was only in high school that she considered seriously pursuing a career. “The thing I really wanted to do at first in high school was to play soccer. Our team was very good, and we traveled all over for matches. Then in my junior year of high school, the soccer team fell apart. I thought, ‘What am I going to do now?’ I joined the cast for the musical, THE LITTLE MERMAID. I played Sebastian, the frog. And after that, I continued to be involved in the school’s theatre and musicals”

“When it came time to go to college, I started at Syracuse University as a major in Theatre Management. But it was not long before I realized that I needed to be ON stage. I had to perform. So I transferred to NYU, which really had been my dream school all along. I earned a Bachelor of Music degree with concentrations in Vocal Performance and Musical Theatre. My first year there was during Covid, which was challenging for performers. I remember practicing ballet with my desk chair as a barre in my room in a local hotel. Fortunately, by my sophomore year, we had returned to in-person learning.”

“It was an amazing program. I was cross trained in classical and contemporary singing as well as musical theatre; I sang everything from opera to rock to Broadway.” Franco also continued her piano and music theory studies, which have enabled her to work not only as a singer, but also as a music director., something she did professionally her first summer after graduation in Indianapolis. Franco finds that the skills required to be a musician have enriched her work as a vocal performer. “Being able to read music quickly, for example, is invaluable.” And she thinks that the leadership skills required of a music director are also useful tools for the actor. “Working in a leadership role as Music Director has helped me to work with other people in a respectful way and to be [nimble] on my feet no matter what is thrown at me.”

The conversation turns to the present production of HAIRSPRAY, directed and choreographed by Kenny Ingram. Franco waxes enthusiastic about Ingram and his Assistant Director/Choreographer Christopher Page-Sanders. “Kenny is wonderful, amazing! We bonded immediately.” She describes Ingrams’s process for choreography often asks Page-Sanders to block a number before he takes over and begins connecting the feelings and motivations of the characters to the movements. “For instance, the Bandstand kids are a little stiff and [conscious] while performing, while the record shop kids are moving from the soul,” Franco says. “He makes sure we are all moving as a cohesive unit. There is so much about separation and segregation in the show that Kenny has made it his mission to make sure we are all feeling connected to each other on stage and off.” Franco adds that Ingram takes a “very collaborative approach on all fronts, and that definitely works well for this show.”

As a musician, Franco loves the entire Shaiman-Wittman score. “It has everything a Broadway show needs: spectacle, big singing, authentic 60s vibe, all perfectly written for each of the individual characters.” Her own favorite number to sing is “I Can Hear the Bells.” “It’s very funny. I get to drag Link around like a little doll, and I get to add some “Edenisms” so it feels most like me.”

Franco also enjoys the period vibe of the piece. Not only has she watched both movies to give herself context, but she has also listened to singers of the period like Connie Francis, but she says she has been careful not to imitate the work of her predecessors in the role. “My Tracy is me, not an imitation of anyone else.”

Asked what some of the deeper undercurrents of HAIRSPRAY are, Franco replies, “There are themes of body positivity and messages about racisim and segregation. Even though the musical is a fictional story wrapped around history, Kenny wanted to make sure the audience knows what was happening in reality. We have this incredible moment in our production when Tarra Connor Jones [Motormouth Maybelle] sings “I Know Where I’ve Been.” She has the voice of an angel, and it’s incredible what she does with this song. We have projections running while she’s singing showing Lyndon Johnson signing the Civil Rights Act and other unforgettable moments of history. And the audience realizes that even though this is a musical with lots of heart, bright costumes and colors, it is real. People have been giving the number a standing ovation [in the middle of the act] every night in Lancaster. Every time that happens, it makes me believe and hope in humanity,” Franco affirms.

Eden Franco looks forward to sharing this HAIRSPRAY with Maine theatre lovers next. She is moved by the public’s reactions and by the connectedness she feels with her cast mates and the audience. She hopes that MSMT audiences will take away the message in HAIRSPRAY that most inspires her: “that no matter what you look like, you can still feel connected to the people around you. With racism, hate, and hate speech rampant today, I hope people see these [for what they are] and ask themselves how they can be like Tracy, who is the one to say, ‘this is wrong and I want to start changing things.’ Even if they do not necessarily choose action as Tracy does, hopefully, at least, they will realize that they do not have to say negative things and act hurtfully toward those who are different from themselves. [And, hopefully,] HAIRSPRAY will help them feel they can accept others.”

Photos courtesy of MSMT

HAIRSPRAY runs from June 3 -June 20, 2026 at MSMT’s Pickard Theater on the campus of Bowdoin College, 1 Bath Rd., Brunswick, ME www.msmt.org 207-725-8769

THE NOTEBOOK North American Tour Adds 26 Cities to 2026-27 Route

Tue, 19 May 2026 08:13:15 PST

The North American Tour of THE NOTEBOOK hasannounced engagements for the 2026-27 season, adding 26 cites to the previously announced route, including stops in Atlanta, Boston, Dallas, and Houston. The tour began performances on September 6, 2025, at Playhouse Square in Cleveland, Ohio, and has welcomed over 500,000 patrons to date.

Read the reviews for the touring production of The Notebook.

Allie and Noah, two people from different worlds, share a lifetime of love despite the forces that threaten to pull them apart in a deeply moving portrait of the enduring power of love. Based on the book that has sold millions of copies worldwide and a film that is one of the highest-grossing romantic dramas of all-time, the musical adaptation of THE NOTEBOOK played Broadway at the Schoenfeld Theatre from March 2024 to December 2024 following a critically acclaimed world premiere engagement at Chicago Shakespeare Theater in the fall of 2022.

THE NOTEBOOK features music and lyrics by multi-platinum singer-songwriter Ingrid Michaelson and a book by playwright Bekah Brunstetter (writer and producer on NBC's “This Is Us,” The Cake). The production is directed by Michael Greif (Dear Evan Hansen, Next to Normal, RENT) and Schele Williams (Aida, The Wiz), with choreography by Katie Spelman (Associate Choreographer on Moulin Rouge! The Musical).

The creative team for the tour includes scenic design by David Zinn and Brett J. Banakis, costume design by Paloma Young, lighting design by Ben Stanton, sound design by Nevin Steinberg, hair and wig design by Mia Neal, and projection design by Lucy Mackinnon. The production's music supervisor is Carmel Dean, who also collaborated on arrangements with Ingrid Michaelson and on orchestrations with John Clancy, and the music director is Tina Faye. Casting by The Telsey Office, Patrick Goodwin, CSA.

The production was recognized with three 2024 Tony Award nominations (Best Book of a Musical, Best Performance by an Actress in a Leading Role in a Musical, Best Performance by an Actor in a Leading Role in a Musical), Drama League Award nominations for Outstanding Production of a Musical, two Distinguished Performance Awards and the Founders Award for Excellence in Directing, Drama Desk Award nominations for Outstanding Featured Performance in a Musical, and an Outer Critics Circle Award nomination for Outstanding Lead Performer in a Broadway Musical.

2026-2027 Tour Dates:

Detroit, MI — Fisher Theatre
September 22 – October 4, 2026

Dayton, OH — Schuster Center
October 6 – 11, 2026

Grand Rapids, MI — DeVos Performance Hall
October 13 – 18, 2026

East Lansing, MI — Wharton Center
October 27 – November 1, 2026

Richmond, VA — Altria Theater
November 3 – 8, 2026

Pittsburgh, PA — Benedum Center
November 10 – 15, 2026

Schenectady, NY — Proctors
December 1 – 6, 2026

Boston, MA — Emerson Colonial Theatre
December 8 – 20, 2026

Oklahoma City, OK — Civic Center Music Hall
December 29, 2026 – January 3, 2027

Houston, TX — Hobby Center
January 5 – 10, 2027

Dallas, TX — Winspear Opera House
January 12 – 24, 2027

New Orleans, LA — Saenger Theatre
January 26 – 31, 2027

Hershey, PA — Hershey Theatre
February 3 – 7, 2027

Providence, RI — PPAC
February 9 – 14, 2027

Rochester, NY — Auditorium Theatre
February 16 – 21, 2027

Fayetteville, AR — Walton Arts Center
February 24 – 28, 2027

Huntsville, AL — Von Braun Center
March 2 – 7, 2027

Ft. Lauderdale, FL — Broward Center
March 9 – 14, 2027

Ft. Myers, FL — Barbara B. Mann Hall
March 16 – 21, 2027

Naples, FL — Artis—Naples
March 23 – 28, 2027

North Charleston, SC — North Charleston PAC
March 30 – April 4, 2027

Birmingham, AL — BJCC Concert Hall
April 6 – 11, 2027

Atlanta, GA — Fox Theatre
April 13 – 18, 2027

Tucson, AZ — Centennial Hall
April 27 – May 2, 2027

San Jose, CA — Center for the Performing Arts
May 4 – 9, 2027

Sacramento, CA — SAFE Credit Union PAC
May 11 – 16, 2027

Review: AIN'T TOO PROUD-THE LIFE AND TIMES OF THE TEMPTATIONS at Ogunquit Playhouse

Mon, 18 May 2026 21:47:48 PST

Jukebox musicals are practically a summer tradition at the Ogunquit Playhouse. Lately, we’ve seen everything from Jersey Boys and Million Dollar Quartet to The Cher Show, On Your Feet!-The Story of Emilio and Gloria Estefan, Heartbreak Hotel, Beautiful: The Carole King Musical, and last year’s world premiere of When Elvis Met the Beatles. Honestly, it’s a mixed bag. Some are incredibly memorable—Jersey Boys and Beautiful stick with you—while others, like The Cher Show and On Your Feet! fall a bit flat in comparison. For me, it all comes down to the storytelling.

Let's face it: there’s a predictable formula here. You get a group from humble, often troubled beginnings who tank a few times before hitting it big. Along the way, you can check off the boxes: infidelities, drug abuse, money troubles, hidden secrets, and the inevitable ego clashes that tear the band apart.

Because of that formula, I went into Ain’t Too Proud with some serious doubt. Could the cast deliver that iconic music? Was the story going to hold my attention, or was this just going to be a glorified tribute concert?

I’m happy to report that Ain’t Too Proud is an absolute knockout and among my favorites of the jukebox genre. The music hooks you from the first beat, the choreography is flat-out dazzling, and Dominique Morisseau’s script doesn't sugarcoat the group's ugly times and personal tragedies. Based on founder Otis Williams’s memoir, the show completely sidesteps the cheesy "and then we wrote this song" cliché. Instead, it plays out like a gritty, high-stakes drama about the brutal cost of perfection, all set against the backdrop of a fracturing 1960s America.

Tony nominee Charl Brown is a perfect Otis Williams. Serving as the narrator, Brown brings a grounded, deeply soulful presence to the stage. He does a fantastic job showing the heavy emotional toll of a guy trying to keep his brothers together while the ground is cracking beneath them—especially under the thumb of Motown executive Berry Gordy (played with a sharp edge by Brett Sturgis).

The core "Classic Five" lineup is spectacular, tackling some incredibly brutal vocal and physical arrangements. Josh Marin is both thrilling and tragic as David Ruffin. He nails the entire tragic arc of the man—from the electric showman tossing his mic in the air to the paranoid, drug-addled egoist. When Marin digs into "Ain’t Too Proud to Beg," the raw, gravelly pain in his voice is palpable.

Blaine Alden Krauss provides a beautifully smooth counterpoint as Eddie Kendricks, delivering a flawless, soaring falsetto during "Just My Imagination." Warren Egypt Franklin keeps the group grounded with a rich, booming bass as Melvin Franklin, while Justin Showell turns in a heartbreaking performance as Paul Williams, capturing the quiet agony of a man losing his personal battles.

As the lineup shifts over the years, Tymothee Harrell (as Dennis Edwards), Owen Scales (as Richard Street), and Joey Stone (as Damon Harris) step into their roles seamlessly, keeping the group's signature tightness alive.

We also get two fantastic interludes featuring Diana Ross and The Supremes, tracking their shift from Motown's top-billed darlings to, later, second billing to The Temptations as their new found fame explodes. Alexandria Reese makes for a vibrant, charismatic Diana Ross, backed up wonderfully by Khalifa White as Mary Wilson and Kris Lyons as Florence Ballard.

With a playbill covering thirty-one tunes, there’s plenty to be nostalgic about. You’ll be inspired by sensational renditions of "Shout," "In the Still of the Night," "The Way You Do the Things You Do," "My Girl," "For Once in My Life," and "Get Ready," among others. Without a doubt, this stellar cast brings the sights and sounds of Motown to life.

The first act centers clearly on the group's rise to fame with their early hits. The second act shifts gears beautifully, trading early pop hooks for the psychedelic soul of "Cloud Nine" and "Papa Was a Rollin’ Stone." Under Seth Farber’s musical direction, these numbers hit with a darker, heavier sound that perfectly mirrors a country fracturing under the Vietnam War.

As the story winds down, Otis Williams reimagines what the group would be like if former members, deceased and living, were reunited to sing together once again. The number, "What Becomes of the Brokenhearted," is an absolute showstopper. At the performance I attended, it brought a standing ovation lasting several minutes with wild applause, whoops, and hollers. A few of the actors, visibly moved by the audience connection, were brought to tears. It was one of the most powerful moments I have ever witnessed of an audience outpouring love for the performers and the actors responding emotionally.

While the singing is top tier, the footwork is a performance unto itself. Choreographer Rachelle Rak keeps the stage absolutely pulsing. The drops, the splits, and the intricate steps tell the story of the group’s tight-knit unity better than any dialogue could. Director Gerry McIntyre keeps the show moving, but he never lets the speed crowd out the show's emotional core.

Visually, the production looks and sounds fantastic, using Robert Brill’s sleek sets, Paul Tazewell’s iconic costumes, and Peter Nigrini’s projections to jump from the streets of Detroit to the bright lights of The Ed Sullivan Show, and even marking an historic, somber moment with the shooting of Martin Luther King, Jr.

Ain’t Too Proud works because it honors the legendary music with a glimpse of the effort that went into making it happen. It is storytelling at its finest.

Photos: AIN'T TOO PROUD at Ogunquit Playhouse

Fri, 15 May 2026 21:35:07 PST

Ogunquit Playhouse has unveiled production photos for it's new production of Ain't Too Proud- The Life and Times of the Temptations.

Ain't Too Proud is the Broadway musical that follows The Temptations' remarkable rise from the streets of Detroit to the Rock & Roll Hall of Fame. With signature choreography and unmistakable harmonies, The Temptations created 42 Top Ten hits—14 reaching number one—and defined the sound of a generation. But what made them unforgettable wasn’t just the music. Set against a backdrop of a changing America, Ain’t Too Proud reveals the personal and professional pressures behind their success—where ambition, loyalty, and the cost of fame tested the very bond that brought them together.

Ain't Too Proud features a book by Dominique Morisseau, Music & Lyrics from The Legendary Motown Catalog, and is based on the book entitled The Temptations by Otis Williams with Patricia Romanowski.

Photo Credit: Nile Scott Studios

Tymothee Harrell, Charl Brown, Warren Egypt Franklin, Blaine Alden Krauss, and Justin Showell

The cast of Ogunquit Playhouse's 2026 Production of AIN'T TOO PROUD

Khalifa White, Kris Lyons, and Alexandra Reese

Justin Showell, Blaine Alden Krauss, and the Cast

Josh Marin, Justin Showell, Blaine Alden Krauss, Charl Brown, and Warren Egypt Franklin

Charl Brown, Justin Showell, Justin Terrell, Blaine Alden Krauss, and Warren Egypt Franklin

Charl Brown, Josh Marin, Justin Showell, Blaine Alden Krauss, and Warren Egypt Franklin

StageMag Launches Programmable PDF Editor for Digital Theater Programs

Thu, 21 May 2026 10:04:02 PST

StageMag, the digital show program platform from BroadwayWorld, today launched its new PDF Editor to all producers and stage managers using the service. The tool gives editors granular, real-time control over how their digital program renders as a downloadable or printable PDF - the format most often used in lobby printouts, accessibility packets, and press kits.

Until now, the StageMag-to-PDF path was a one-shot export: whatever fit, fit. The new editor turns the export into a configurable surface. Each section of a program including the cast list, song list, director's note, bios, advertisements, sponsor pages, articles, listings and more — can be individually told how to paginate. Editors choose between three strategies per section:

Flow: natural pagination, sections may split across pages.
Own page: start the section on a fresh page.
Fit one page: start fresh and scale the section to occupy the whole page.

A live preview pane re-renders the PDF on every change, so editors see the final printed result as they work rather than guessing and re-exporting.Beyond the strategy picker, the editor exposes a set of advanced controls familiar to anyone who has hand-tuned a long-form print document: hide-element selectors (drop sponsor strips or vestigial nav from the print version), forced page breaks before or after named elements, a draggable section-order list, custom header/footer/watermark text, and a custom-CSS escape hatch for theaters whose programs follow a house style.

The release also includes paper-level controls including US Letter or A4, portrait or landscape, three margin presets, three type scales, and a "booklet" mode that adds a binding gutter for stapled lobby printouts.

The PDF Editor is available now to all StageMag-enabled productions at no additional cost, under the Share PDF tab in the program editor. Existing programs render with sensible defaults; the new controls are opt-in and per-production.

About StageMag

StageMag is BroadwayWorld's digital playbill platform, used by Broadway, Off-Broadway, regional, university, and community theater productions to publish interactive programs that audiences open on their phones from a QR code in the lobby. StageMag is offered as a free service to participating productions.

About BroadwayWorld

Founded in 2003, BroadwayWorld is the largest theater website in the world, covering Broadway, the West End, and theater news, reviews, interviews, and resources across all 50 US states and 45 countries.

Video: Trailer for HAIRSPRAY at Maine State Music Theatre

Wed, 13 May 2026 12:05:00 PST

Maine State Music Theatre has released the trailer for HAIRSPRAY, the beloved Tony Award-winning musical running June 3 through 20, 2026 at Pickard Theatre at Bowdoin College, in a co-production with the Fulton Theatre.

With a book by Thomas Meehan and Mark O'Donnell, music by Marc Shaiman, and lyrics by Marc Shaiman and Scott Wittman, the show is set in 1962 Baltimore, where big-hearted Tracy Turnblad dreams of dancing on The Corny Collins Show. When her once-in-a-lifetime shot turns into a chance to stand up for what's right, Tracy becomes an unlikely heroine on a mission to integrate the airwaves and bring people together with plenty of rhythm, soul, and style.

Directed and choreographed by Kenny Ingram, the cast features Eden Franco as Tracy Turnblad, Robert Anthony Jones as Edna Turnblad, Joel Newsome as Wilbur Turnblad, Trevor Wayne as Link Larkin, Eileen Ray Brady as Penny Pingleton, Lawrence Flowers as Seaweed J. Stubbs, Tarra Conner Jones as Motormouth Maybelle, Amy Bodnar as Velma Von Tussle, Tori Heinlein as Amber Von Tussle, Dan De Luca as Corny Collins, Mikayla White as Little Inez, Charis Leos as Prudy Pringleton and others, and Peter Matthew Smith as Mr. Pinky and others. The Dynamites are played by Mya Rena Hunter, Brianna Johnson, and Erica Wilkins.

The creative team includes Cody Von Ruden (costumes) and Kevin S. Foster II (hair, wig, and makeup design).

For tickets and information, visit Maine State Music Theatre online or call 207-725-8769.

Click Here to Play!

Hackmatack Farm Will Present Farm-to-Table Dinners, Contra Dances & Nature Camp

Thu, 07 May 2026 20:12:03 PST

Hackmatack Farm + Playhouse has announced their farm-related events for their Summer 2026 season, including events like the Farm to Table Dinner on May 23, monthly Contra Dances, and a youth nature camp.

Guests enjoy the Farm to Table Dinner at Hackmatack Farm + Playhouse, featuring a seasonal, locally sourced meal paired with live music and community connection. Photo by Rob Strange.

The Farm to Table Dinner, taking place on Saturday, May 23, serves up a Hackmatack-sourced seasonal meal, featuring their own pasture-raised bison and mangalista pig, paired with live music and a chance to connect with the community. James Beard nominated Chef Evan Mallett of the Black Trumpet will prepare a meal with a focus on sustainable regional food systems, highlighting the importance of honoring our local food producers.

“In an age when many people have lost the opportunity to connect with local farms and the farmers who grow their food, our farm-to-table dinner gives the community a chance to see firsthand how their food is sustainably raised, while enjoying a thoughtfully crafted meal prepared by one of our region's most popular chefs,” said Aram Guptill, Executive Producer of Hackmatack Farm + Playhouse.

Dancers of all experience levels take part in a monthly contra dance at Hackmatack Farm + Playhouse, featuring live music, an expert caller and a welcoming community atmosphere. Photo by Laura Riggle.

The connection to the land, music and community continues all summer long, as Hackmatack's 19th century barn welcomes all to monthly Contra Dances. The contra barn dances are led by an expert caller and accompanied by a different musical artist every month. This event invites dancers of all experience levels, with a beginner lesson from 6:30 PM to 7 PM, with dances running from 7 PM to 9 PM.

Young campers at Hackmatack Nature Camp explore the landscape of Berwick, Maine, building confidence and curiosity through outdoor, nature-based activities. Photo by Danielle Day.

For younger explorers ages 5 to 13, Hackmatack Nature Camp offers an environmental education set in the forests, fields, and waterways of Berwick, Maine. Children will be venturing out into nature, rain or shine, participating in activities like hiking, wildlife and farm observation, arts and crafts, and learning about local ecosystems and conservation. Each week will introduce a new theme, promoting curiosity, teamwork, and an appreciation for the environment around them.

Nature Camp directors Jen Insley and Jenna Corriveau bring a combined background in education, counseling, and nature-based programming, fostering a supportive and hands-on environment where children can explore, learn, and grow outdoors. “We want children to leave with the quiet confidence that comes from having done something real — built something, made something, figured something out on their own,” said Corriveau. “We want them to discover that slowing down, if you let it, usually leads somewhere worth going. More than anything, we hope to give children an experience of the world as full, alive, and worth paying attention to — one that stays with them long after camp ends and draws them back outside, again and again, for the rest of their lives.”

For more information, tickets, and to reserve spots for the farm events coming up, please visit Hackmatack Farm or contact Hackmatack Farm + Playhouse at (207) 698-1807.

Information

Box Office Hours: opens 2 hours before show time
Box Office Phone: (207) 698-1807
Box Office Email: boxoffice@hackmatack.org
Tickets Online: Hackmatack Playhouse Box Office

About Hackmatack Farm + Playhouse

Nestled in pastoral Berwick, Maine, Hackmatack Farm + Playhouse has been a cherished venue for live theater for over 50 years. With its charming, rustic setting and dedication to artistic excellence, Hackmatack brings stories to life for audiences across the Seacoast and beyond. Visit www.hackmatackplayhouse.org to learn more.

SOMETHING WONDERFUL: RODGERS AND HAMMERSTEIN AT THE MANSION Announced By Opera Saratoga

Sun, 03 May 2026 12:05:41 PST

Opera Saratoga opens its 2026 season with concerts featuring the 2026 Festival Artists, accompanied by Opera Saratoga’s music staff, led by acclaimed pianist and coach Adam Nielsen, who joined the company in December 2025.

Something Wonderful: Rodgers and Hammerstein at the Mansion, will showcase the voices of this year’s Festival Artists at The Mansion Inn, only minutes from downtown Saratoga Springs.

“These young singers are some of the best we’ve ever had in Saratoga Springs — they’ve won national awards, sung, and played in A-houses and many are going to Europe next year” says General and Artistic Director, Mary Birnbaum. “We are tremendously lucky to have them at Opera Saratoga, and I can assure you, you won’t want to miss this chance to hear them in a beautiful, intimate setting!”

“Something Wonderful” features many song from the musical theatre repertoire including songs from “The Sound of Music,” “South Pacific,” “Oklahoma!,” “Carousel,” and rarities like “Allegro,” “The Boys from Syracuse,” “Floyd Collins,” and “Once Upon a Mattress.”

Performances will take place on May 31 at The Mansion Inn located at 801 NY 29 Rock City Falls, NY. Tickets can be purchased at the Opera Saratoga's website.

Review: OUT OF NOWHERE TOUR 2026: TIG NOTARO at State Theatre in Portland, Maine

Sun, 03 May 2026 00:35:25 PST

There’s usually a specific kind of energy you expect when you walk into a place as big as the State Theatre in Portland for a comedy show. You expect the "big" performance—pacing, shouting, and that predictable setup-punchline rhythm that keeps a crowd revved up.

Then Tig Notaro walks out, and the whole room just… settles.

Tig doesn’t try to grab you by the collar. She’s more likely to win you over with a whisper. Within five minutes, she had late night second performance crowd leaning so far forward you could hear a pin drop. It’s honestly a masterclass in how much you can get away with if you aren’t afraid of a long pause.

People call her "dry," but that’s an understatement. She operates on her own frequency. She’ll let a moment hang there until it gets almost awkward—you start wondering if she’s actually forgotten where she was going—and then she’ll drop a five-word sentence that absolutely levels the place. In a room that size, it felt weirdly like sitting in someone's living room.

The set itself felt loose and effortless. She talked about the usual stuff—her health, her wife, the chaos of raising twin sons—but it never felt like "bits." It just felt like a conversation. She has this way of making the heavy stuff feel manageable and the tiny, domestic stuff feel like the most important thing in the world.

The highlight of the night, though, was totally unscripted. She was riffing on the old cliché about how fast lesbians move in together—"They just rent a Penske and move in," she joked—and then she just stopped and asked if anyone in the crowd actually worked for Penske.

Turns out, a regional manager was sitting right in the front.

What followed was ten minutes of some of the best crowd work I’ve ever seen. She didn't just move on; she interrogated the guy. She stayed in that deadpan lane, trading barbs with him until the whole interaction became the soul of the show. She ended it by telling him, "Thank you for your service," and I think I saw people in my row actually crying from laughing so hard.

Ever since her 2012 set where she announced her cancer diagnosis on stage, people expect Tig to be "vulnerable." She is, but she doesn’t perform it. She doesn’t beg for your sympathy. She just lets the humor sneak up on you from a side angle.

By the time the lights came up, the vibe in the State Theatre was different. It wasn’t that frantic, buzzing adrenaline you usually get after a comedy set. It felt more like a collective exhale. We’d all spent 90 minutes synced up to Tig’s internal clock, and honestly, it’s a much better pace than the rest of the world.

It turns out you don't have to be the loudest person in the room to get the biggest laugh. You just have to be Tig Notaro.

SEVEN SISTERS To Have World Premiere At Dramatic Repertory Company

Fri, 01 May 2026 18:05:23 PST

Dramatic Repertory Company has announced the world premiere of SEVEN SISTERS by Lynne Conner, running October 2–11, 2026 at the Studio Theater at Portland Stage. The production will be directed by Abigail Killeen as part of the company’s 15th season.

The play follows seven sisters born into rural poverty in the early twentieth century, moving between 1936 and 2022 as each actor portrays a single character across multiple stages of life. The work explores themes of sisterhood, love, loss, and aging through a multi-generational narrative.

The cast includes Mary Fraser, Janice Gardner, Kim Gordon, Dana Legawiec, Rhonda Musak, Molly Bryant Roberts, and Sally Wood.

The production is directed by Abigail Killeen.

Tickets will be priced at $34 for general admission, with free tickets available for ages 25 and under, discounted Wednesday performances at $14, and premium seating at $54.

About the Artists

Lynne Conner is an award-winning playwright whose work has been presented nationally, including recognition from the Kennedy Center and the Eugene O’Neill Theatre Center.

Dramatic Repertory Company is a Portland-based professional nonprofit theatre company that presents new and lesser-known works, as well as reinterpretations of established plays, under the leadership of Artistic Director Keith Powell Beyland.

OPERATION MINCEMEAT Reveals 2026-27 Tour Dates and Cities

Thu, 30 Apr 2026 09:12:44 PST

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

Read the reviews for the Broadway run here.

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

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

Operation Mincemeat Tour Dates:

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

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

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

Toronto, ON – Theatre TBD
October–December 2026

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

About Operation Mincemeat

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

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

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

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

RAGTIME Will Launch National Tour in Fall 2027

Wed, 29 Apr 2026 16:00:22 PST

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

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

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

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

Lincoln Center Theater" width="356">

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

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

BroadwayWorld.com Maine Stories

Interview: MSMT Launches Twelfth Season of PEEK BEHIND THE CURTAIN

Interview: John Treacy Egan On Playing Benjamin Franklin in 1776 at Maine State Music Theatre

Video: 'I Know Where I've Been' from HAIRSPRAY at Maine State Music Theatre

Around The BroadwayWorld: Top News, Reviews, Interviews & More from May 2026

Editor's Picks: Top News Stories

Diane Paulus Will Direct Immersive David Bowie Inspired LIFE ON MARS at American Repertory Theater

Interviews

Interview: Adam Fields of BEETLEJUICE National Tour

Interview: Richard Kind Talks Finally Taking on Edna in The Muny's HAIRSPRAY

Reviews

Videos

Photos

Review: SHREK THE MUSICAL at Maine State Music Theater

Theater at Monmouth Cancels 2026 Season

News Flash: Local Actress Takes On Lead in MSMT's HAIRSPRAY

Review: HAIRSPRAY is An Anthem to Optimism and Change

GOOD VIBRATIONS: A Celebration of the Beach Boys to Play The Public Theatre

GOOD VIBRATIONS: A Celebration of the Beach Boys to Play The Public Theatre

BroadwayWorld Launches Producer Fantasy Game

How It Works

Weekly Scoring

The Fantasy Forecast

Managing Your Roster

Join the Game

Video: Watch 'What Becomes of the Brokenhearted?' From AIN'T TOO PROUD at Ogunquit Playhouse

Photo Exclusive: LES MISERABLES At Tuacahn Amphitheatre

A DRAG QUEEN CHRISTMAS to Return for 12th Year With 39-City National Tour

This year's cast includes:

A Drag Queen Christmas 2026 Tour Dates:

Beth Leavel, Matt Doyle, Ruthie Ann Miles & More to Star in HELLO, DOLLY! at Ogunquit Playhouse

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

Bees Deluxe to Perform at MONDAY NIGHT BLUES Concert Series

BWW Q&A: Trevor Wayne Stars as Link Larkin in HAIRSPRAY at Maine State Music Theatre

Interview: Eden Franco Talks HAIRSPRAY at Maine Street Music Theatre

THE NOTEBOOK North American Tour Adds 26 Cities to 2026-27 Route

2026-2027 Tour Dates:

Review: AIN'T TOO PROUD-THE LIFE AND TIMES OF THE TEMPTATIONS at Ogunquit Playhouse

Photos: AIN'T TOO PROUD at Ogunquit Playhouse

StageMag Launches Programmable PDF Editor for Digital Theater Programs

About StageMag

About BroadwayWorld

Video: Trailer for HAIRSPRAY at Maine State Music Theatre

Hackmatack Farm Will Present Farm-to-Table Dinners, Contra Dances & Nature Camp

Information

About Hackmatack Farm + Playhouse

SOMETHING WONDERFUL: RODGERS AND HAMMERSTEIN AT THE MANSION Announced By Opera Saratoga

Review: OUT OF NOWHERE TOUR 2026: TIG NOTARO at State Theatre in Portland, Maine

SEVEN SISTERS To Have World Premiere At Dramatic Repertory Company

About the Artists

OPERATION MINCEMEAT Reveals 2026-27 Tour Dates and Cities

Operation Mincemeat Tour Dates:

About Operation Mincemeat

RAGTIME Will Launch National Tour in Fall 2027