BroadwayWorld.com South Carolina Stories

URINETOWN to Open at Trustus Theatre's Thigpen Mainstage in Columbia, SC

Thu, 11 Jun 2026 21:28:49 PST

Trustus Theatre will present Urinetown, the outrageously funny, unexpectedly relevant, and Tony Award-winning musical satire, opening June 19th and running through July 19th on the Thigpen Mainstage.

Directed by Dewey Scott-Wiley, music directed by Chris Cockrell, and choreographed by Terrance Henderson, Urinetown takes audiences to a dystopian future where a devastating water shortage has led to a government-enforced ban on private toilets. Citizens must pay to use public amenities controlled by a powerful corporation, setting the stage for a hilarious and thought-provoking tale of rebellion, corruption, and social responsibility.

With a book by Greg Kotis, music by Mark Hollmann, and lyrics by Hollmann and Kotis, Urinetown cleverly skewers capitalism, bureaucracy, environmental neglect, and even the conventions of musical theatre itself. Since its Broadway debut, the show has earned critical acclaim for its sharp wit, unforgettable score, and surprising emotional depth.

“Urinetown's themes feel remarkably timely, but what makes it truly special is how it invites audiences to laugh while challenging them to think about power, privilege, and the systems we create,” said director Dewey Scott-Wiley.

Music Director Chris Cockrell leads a talented cast through the show's eclectic and energetic score, which blends Broadway traditions with gospel, jazz, and contemporary musical theatre influences.

A cult favorite that continues to resonate with audiences more than two decades after its premiere, Urinetown offers a theatrical experience that is equal parts comedy, social commentary, and musical spectacle.

The show will run from June 19th through July 19th at Trustus Theatre. Tickets are now available for purchase on the Trustus Theatre website or by calling the box office at 803-254-9732. Special discounted rates are available for students, seniors, and groups.

For more information and/or to purchase tickets for Urinetown, visit trustus.org.

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.

AN AFTERNOON WITH DARLEY NEWMAN to Come to Charleston Gaillard Center

Thu, 04 Jun 2026 20:27:44 PST

The Charleston Gaillard Center and SC250 Charleston will present An Afternoon with Darley Newman on Sunday, June 28, 2026, at 2:00pm.

Join Emmy Award-nominated host, producer, author, and traveler Darley Newman for a special afternoon at the Charleston Gaillard Center exploring the power of place, history, and storytelling.

Co-presented as part of SC250 Charleston programming, this conversation-style event will highlight Charleston's Revolutionary-era history, cultural legacy, and enduring role in the American story. Known for her acclaimed PBS series Travels with Darley, Darley brings destinations to life through thoughtful storytelling, meaningful connections, and a deep appreciation for the people and places that shape history.

The program will feature an engaging conversation with Darley, Polly Buxton of Buxton Books, and curated audience questions. Guests will leave inspired to experience Charleston's historic spaces, SC250 Charleston activations, and the stories surrounding the 250th anniversary of the American Revolution in a new way.

Tickets are available now at gaillardcenter.org.

AN AFTERNOON WITH DARLEY NEWMAN to Come to Charleston Gaillard Center

Thu, 04 Jun 2026 20:27:44 PST

The Charleston Gaillard Center and SC250 Charleston will present An Afternoon with Darley Newman on Sunday, June 28, 2026, at 2:00pm.

Join Emmy Award-nominated host, producer, author, and traveler Darley Newman for a special afternoon at the Charleston Gaillard Center exploring the power of place, history, and storytelling.

Tickets are available now at gaillardcenter.org.

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.

DON BARNHART & FRIENDS is Coming to Comedy Cabana for a One-Week Engagement

Thu, 04 Jun 2026 15:54:07 PST

Comedian, producer, and Las Vegas headliner Don Barnhart will bring his comedy showcase to Comedy Cabana for a special one-week engagement August 10-15.

Direct from Delirious Comedy Club Las Vegas, Barnhart brings the same high-energy comedy experience that has made his hit show Don Barnhart & Friends a favorite among tourists, locals, and comedy fans from around the world.

Joining Barnhart is featured comedian David Ryan, delivering a night packed with nonstop laughs, quick wit, and audience interaction that audiences love.

This is a professional Las Vegas-quality comedy event featuring nationally touring comedians with decades of experience entertaining audiences around the world.

Barnhart has spent more than three decades making audiences laugh around the world. As founder and star of the hit Don Barnhart & Friends showcase, Barnhart has produced and performed in more than 3,000 live comedy shows, helping establish Delirious Comedy Club as one of the most respected independent comedy venues in America.

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

Tue, 02 Jun 2026 19:57:07 PST

“A Drag Queen Christmas” will return for its 12th year, launching a 39-city national tour this November - December. The 2026 edition is hosted by returning fan favorite and theatre star Nina West, and features an all-new merry lineup of drag superstars from the Emmy-winning RuPaul's Drag Race franchise.

Artist pre-sale begins Wednesday, June 3 at 10 a.m. (local time) with the code “TWELVE,” and general on sale begins Friday, June 5 at 10 a.m. (local time) at dragfans.com.

This year's cast includes:

Myki Meeks, Winner of RuPaul's Drag Race Season 18 (2026)
Nini Coco, Runner-up, Drag Race Season 18 (2026)
Darlene Mitchell, Drag Race Season 18 (2026)
Juicy Love Dion, Drag Race Season 18 (2026)
Discord Addams, Drag Race Season 18 (2026)
Crystal Methyd, Drag Race All Stars Season 11 (2026) & Drag Race Season 12 (2020)
Silky Ganache, Drag Race All Stars Season 11 (2026), Drag Race All Stars Season 6 (2021), Drag Race Season 11 (2019)

“A Drag Queen Christmas” is the world's premiere holiday drag showcase and a sensational theatrical experience that delivers high camp, over-the-top lip-sync performances, side-splitting comedy, elaborate costumes, Broadway-style staging, and a whole lot of heart—something we all seek during the chaos of the holiday season. With plenty of spectacular surprises in store, the show offers audiences a chance to see drag queens at the top of their game perform showstopping numbers of epic holiday proportions on revered theater stages across America. Each year, “A Drag Queen Christmas” provides an annual tradition for folks from all walks of life to come together and connect, find community, and celebrate the season with joy and laughter.

This dazzling, 18+ holiday extravaganza runs two hours and offers fans the chance to add-on a VIP Meet & Greet Experience—including early access to the venue, photos with the queens on stage, autographs, and exclusive tour merchandise.

A Drag Queen Christmas 2026 Tour Dates:

November 11 - Detroit, MI (Fisher Theatre)

November 12 - Rochester, NY (Kodak Center)

November 13 - Rutland, VT (Paramount Theatre)

November 14 - Portland, ME (Merrill Auditorium)

November 15 - Boston, MA (Emerson Colonial Theatre)

November 17 - Red Bank, NJ (Count Basie Center for the Arts)

November 18 - Morristown, NJ (Mayo Performing Arts Center)

November 19 - Washington, DC (Warner Theatre)

November 20 - Durham, NC (Durham Performing Arts Center)

November 21 - Wilmington, NC (Wilson Center - Cape Fear Community College)

November 22 - Philadelphia, PA (Fillmore)

November 24 - Pittsburgh, PA (Byham Theater)

November 25 - Columbus, OH (Palace Theatre)

November 27 - Chicago, IL (Riviera Theatre)

November 28 - Appleton, WI (Fox Cities Performing Arts Center)

November 29 - Omaha, NE (Orpheum Theater)

November 30 - Oklahoma City, OK (The Criterion)

December 1 - Des Moines, IA (Hoyt Sherman Place)

December 2 - Kansas City, MO (Uptown Theater)

December 4 - Denver, CO (Paramount Theatre)

December 5 - Salt Lake City, UT (Kingsbury Hall)

December 7 - Seattle, WA (Moore Theatre)

December 9 - Sacramento, CA (Channel 24)

December 10 - San Francisco, CA (Golden Gate Theatre)

December 11 - Stockton, CA (Bob Hope Theatre)

December 12 - Los Angeles, CA (The Wiltern)

December 13 - Santa Rosa, CA (Luther Burbank Center)

December 15 - Mesa, AZ (Mesa Arts Center)

December 16 - Tucson, AZ (Fox Tucson Theatre)

December 17 - El Paso, TX (Plaza Theatre)

December 19 - Austin, TX (ACL Live at The Moody Theater)

December 20 - Dallas, TX (Winspear Opera House)

December 21 - Wichita, KS (Orpheum Theatre)

December 22 - St.Louis, MO (The Factory)

December 23 - Knoxville, TN (Tennessee Theatre)

December 26 - Tampa Bay, FL (Straz Center for the Performing Arts)

December 27 - Fort Myers, FL (Barbara B. Mann Performing Arts Hall)

December 28 - West Palm Beach, FL (Kravis Center for the Performing Arts)

December 29 - Jacksonville, FL (Florida Theatre)

Review: SPOLETO USA'S CHAMBER MUSIC PROGRAM IV at Charleston's Dock Street Theatre

Wed, 03 Jun 2026 17:15:19 PST

Even if you can only attend ONE of the many wonderfully curated Bank of America Chamber Music Series’ programs presented by Spoleto, DO IT. (And there are plenty to choose from – “these go to eleven”.) Spoleto's Director of Chamber Music, Paul Wiancko, is a big lovable guy – (as well as Kronos Quartet's newest cellist, and composer, himself) – and he was warm and generous and funny as the “M.C.” for the May 27th afternoon Program IV, prepping us before each piece with nice anecdotes (which also conveniently allows time for the setting up of various instrument arrangements).

True to the series' M.O., the day featured a nice compliment of new, contemporary works alongside older classical ones, as well as a chance to see the Festival’s Composer-in-Residence, Allison Loggins-Hull, in action today as a flutist (and even an unprogrammed surprise piece composed by harpist, Charles Overton).

Gettin’ Gigue-y Wit It

The first piece for the Program, the coffee to wake us up, was Mark O’Connor’s F.C.’s Jig. In 1993, O’Connor wrote a Violin (… er … “Fiddle”) Concerto. Wiancko tells us that the composer then “plucked” out this nugget for a separate violin/viola duet chamber piece. “Now -- we thought ‘F.C.’ was some beloved partner, or pet, or something…?” muses Mr. Wiancko. “… It turns out just stands for ‘Fiddle Concerto!’”
A definite, bouncy jig, but with decidedly Western classical influence, where lively Irish countrysides can intermittently have notes bent into quick haunting dissonances here, or slower pensive moments there – always to spring right back up quicker than you can say ‘Lord of the Dance’.

Throughout, O’Connor seems to pull out every trick in the strings’ book. There is a nice, plucked-staccatoey section, there’s a moment where both performers were so pianissimo that it made everyone so quiet you could hear a banjo-pick drop. Ayane Kozasa (also of Kronos Quartet) shares an equally precise and fun viola, warmer in sound, and more often with an accompanying harmony, although at times taking over the melody, as well. For the most part, this was a rollicking folk dance, with two virtuosic moments at the finale that were somewhat unbelievable. I didn’t know a violinist (er … fiddler) could play individual notes up and down that fingerboard so quickly, but Kristin Lee seems to handle it effortlessly. (I mean, what were those – 4096nd notes?! And what do we even call those? Demisemiquavers-squared?!)

At the end of this short opening number, there is such an enthused, climactic crescendo back up to the main jiggy theme that it was very hard not to give in to the Dionysian urge to get up — get on up — and start stomping around that ol’ Dock Street Theatre!

Que Legal Quintet

Next up is the uncommonly performed Quintet for Flute, Harp, and String Trio, by Heitor Villa-Lobos, and what a gem! Villa-Lobos was a Brazilian who brought the Western classical artform to Brazil – and vice versa. His tone poem Amazonas premiered in Paris in 1929, and he sounds like he was out-Messiaening Messiaen before Messiaen, with his tone poem about a Brazilian bird, Uirapurú, that features themes from the bird’s song, directly. He even went full-Ravel and transcribed Enrique Granados’ piano suite, Goyescas, to orchestra! (Although sadly these are reportedly lost?)

To have a warm string trio behind a harp and flute is an interesting quintet, and Villa-Lobos exploits the arrangement perfectly. Luscious strings complimenting these two brighter instruments from the orchestra that at times play hot potato with the theme right along with the strings, but at other moments give more of a nice ambiance -- almost side effects like birds here with the flute or that old TV-show trick of summoning a “wavy flashback sequence” with the harp's arpeggios. In the opening Allegro, Allison Loggins-Hull’s flute has a nice section, with a repeating staccato-like arpeggio to accompany the warm strings, behind. But at other times, the flute is lock-step with the strings, the notes and phrasing matching alongside, precisely.

The second Lento movement is just so lovely. It starts with the trickling of a harp’s descending theme, played as lazy as a hot, humid Charleston summer (did Villa-Lobos meet Gershwin?), with the flute echoing, going back and forth in a call-and-respond. All while the cello, then the rest of the strings – played wonderfully by Jennifer Frautschi on violin, Kozasa back for more viola, and Arlen Hlusko on cello -- play dreamy slow notes in the background, like the ocean lulling you, somewhere in the distance. This theme is within a pentatonic scale and is just one example of why Wiancko pointed out some “French Impressionism” influences with this composer, having trained in Paris. (Although many of those scales were, themselves, taken from Asian influences, of course.)

The third movement starts with a fast, nervous theme like rushing through a bustling Rio de Janeiro street, intermixed with sweet, slower passages, with an obvious finale that was met with enthusiastic applause for our que legal (super-cool, in Portuguese) quintet.

Visually, the quintet was awesomely diverse -- four ladies and a man, two African Americans, two Asians, and a white lady. And for the harp -- one of the stereotypically “feminine” instruments -- the instrument is played by our very big, tall fellow, Charles Overton, who stays on stage after the piece to give us - ….

A Harp Solo!

Not on the official program, Director Wiancko couldn’t help but insert a short piece by harpist, Overton, when he found out he was also a composer. The only thing sweeter than Overton’s composition, “Once More” – the first he ever performed publicly -- was his preface to it, as he eloquently described how a modern composer has to overcome the fear of presenting something publicly as a “composer,” when one is constantly overshadowed by the likes of Beethoven, etc. He finally realized that, “we all have our own stories to tell,” and he had to finally just “get out of his own way,” and just do it. It was a beautifully motivating personal speech for any young composers out there.

Praising the piece afterwards, Wiancko seemed to joke that 5-year-olds stayed quiet and enraptured when they heard the piece on a promotional tour, a week before the festival started. We laughed. “And I’m not joking!” he pointed out! Oh yeah -- of course he isn’t. Those of us who know 5-year-olds know very well that to have a classroom full of young children sit quietly through a classical music piece?! – (especially today with Tik Tok and “verticals”) – is probably higher praise than any blowhard art critic (ahem!) could ever possibly muster.

Did I mention that Charles Overton is a big, tall dude? Well, with this soothing, jazzy harp piece, he proves he is exactly like that correct stereotype of lovable, bigger dogs -- nothing but the most gentle in his playing. When Wiancko asked if he’d come back to Spoleto in the future, he said “yes” -- and how could he not? Of course “Charles” belongs in Charleston!

Cool Cat

Concluding the program is Felix Mendelssohn’s Piano Trio No. 2 in C Minor, bringing together the flamboyant Alexi Kenney on violin, our incredible cellist-M.C., Paul Wiancko, and practically conjuring Mendelssohn’s spirit from the grave, the lovely Soyeon Kate Lee on piano. While this C Minor Trio has still not quite escaped the towering shadows of Beethoven and Schubert, it is nonetheless a magnificent work in its own right. (Thank goodness Felix “got out of his own way,” as Overton might say.)
Wiancko prefaces the piece by stating Mendelssohn was “plowing forward with such energy,” publishing the piece just a year before his untimely death, and in the opening movement, he is right. It opens with a wonderful exuberance that at the end yanks immediate applause reflexively from the audience, who have been such a “proper” classical audience through the program until then, and thus “knew better” – but they just couldn’t be stopped! It was too good!

The second movement, the expressive Andante, starts with an endearing solo piano, played oh so affectionately by Soyeon Kate Lee, with form and harmonies very 19th century, and a singing quality to the melody that matches Schubert, (or, for myself, Beethoven’s 27th Sonata, 2nd movement). Cello and violin join in seamlessly, almost dancing with one another, if sound could do that, and although stemming from 19th century Europe, I can almost hear American settlers on the prairie singing some related melody….

How startling, then – after such an affectionate-like love letter – to startle us with the third movement, the Scherzo, which Wiancko prefaced by joking, “Mendelssohn called this movement … ‘a trifle nasty to play’ -- self-aware enough to know you’re being kind of a jerk to the musicians!” (Of course, weren’t all the great composers, as we know? And to their defense, didn’t all the virtuosic musicians demand it, to keep proving themselves as “the best.” And thus, altogether, they kept raising the bar higher and higher through our glorious centuries of classical music culture?)

And Wiancko, playing cello, was notably tasting 'the nasty' as he worked through the movement. His face was in 100% complete concentration through the movement, enveloping -- nearly bear-hugging -- his cello, ferociously, and all worth it, wonderfully bowing out those tricksy fast parts for us.

Alexi Kenney came out kinda cocky in a stylish dress, earring, and hipster shirt (perhaps trying to outdo the Kronos Quartet's famous early punk days). Yo, Alexi -- when you do that you better deliver the goods, man. ... Oh. ... Oh, wow, he did. … My bad. … Kenney hits the notes and plays with just the right intensity throughout, and is an obvious master of his instrument. (So, I give in -- he's a joy both to listen to and watch, with all that flair! I do apologize!) The ending fortissimo pizzicato section for our strings stood out, and the crazed movement ends with an almost exasperated gasp from the audience, as if we’d all just run a marathon.

While the fourth movement could be compared to Beethoven's Ninth Symphony's fourth movement, given its triumphant feeling and sharing the use of a chorale (although in Felix’s case, it is a hidden chorale theme, from the 16th century), it opens with a phrase near-stolen from the Ninth's 2nd movement, to my ears. I was humming the theme after the program, and accidentally segueing into the Ninth, and didn't at first know why.... This has to have been an intentional homage.

Before this piece, Wiancko sang a bit of the chorale theme – and then something magical happened. One audience member from the balcony continued the singing – then a group of at least 10 to 20 audience members all joined in and for a brief 10-15 second chorus, as if we were in the midst of a congregational hymn. I can’t remember the last time I experienced that sort of beautifully interactive spontaneity hit a classical performance. Thank you, Chamber Music Series and audience!

This piece is as equally awe-inspiring as it must be daunting for its performers, who did such an amazing job they received a deserved, prolonged standing-O to conclude yet another groovy program in Spoleto’s Bank of America Chamber Music Series. (Yeah, sure – I’ll give the corporation some credit. As Fran Lebowitz recently said, these newer bajillionaires are adding nothing to society, so I’m gonna give a little credit to those old-school capitalists, when it’s due…). What a Piano Trio! The only thing – really the ONLY thing disappointing about Mendelssohn for me is that he discouraged his sister Fanny from publishing, because she was a woman (a little dickish by today’s standards – “Point, Schumann!”). But otherwise … this C Minor Piano Trio, and this Felix fella? He is one cool cat.

BEEHIVE: THE 60'S MUSICAL to Open at Centre Stage

Thu, 28 May 2026 20:21:44 PST

Centre Stage will present BEEHIVE: THE 60'S MUSICAL, created by Larry Gallagher, from June 25 through July 12.

The musical celebrates the women whose voices helped define the 1960s, featuring songs made famous by artists including Aretha Franklin and The Supremes. Audiences will hear hits such as "Respect," "My Girl," "Be My Baby," and "Downtown" in a production that explores the music and cultural changes of the decade.

Featuring a cast of singer-performers accompanied by live music, the production highlights the impact of female artists on popular music during a period of social and cultural transformation. Through choreography, costumes, and a collection of chart-topping songs, BEEHIVE: THE 60'S MUSICAL traces the evolution of the era's sound and style.

The production is sponsored by Michele Drake in memory of Rachel Drake.

Ticket Information

BEEHIVE: THE 60'S MUSICAL will run June 25 through July 12 at Centre Stage, located at 501 River Street in Greenville, South Carolina.

Performances are scheduled Thursdays through Saturdays at 7:30 p.m. and Sundays at 3 p.m. Tickets range from $33 to $38, and the production is rated PG.

Tickets are on sale now. Advance reservations are encouraged. Patrons may purchase tickets online or by calling the box office at 864-233-6733.

BEEHIVE: THE 60'S MUSICAL to Open at Centre Stage

Thu, 28 May 2026 20:21:44 PST

Centre Stage will present BEEHIVE: THE 60'S MUSICAL, created by Larry Gallagher, from June 25 through July 12.

The production is sponsored by Michele Drake in memory of Rachel Drake.

Ticket Information

BEEHIVE: THE 60'S MUSICAL will run June 25 through July 12 at Centre Stage, located at 501 River Street in Greenville, South Carolina.

Performances are scheduled Thursdays through Saturdays at 7:30 p.m. and Sundays at 3 p.m. Tickets range from $33 to $38, and the production is rated PG.

Tickets are on sale now. Advance reservations are encouraged. Patrons may purchase tickets online or by calling the box office at 864-233-6733.

Review: Circa's HUMANS 2.0, Presented By Spoleto USA

Thu, 28 May 2026 16:37:51 PST

Magnifica Humans 2.0

Review of Circa’s Humans 2.0

May 24, 2026

Sottile Theatre, Charleston, South Carolina

Presented by Spoleto Festival USA

(SPOILER ALERT – I describe the acts with details that might be better-enjoyed seen live for the first time! I’m sorry! I’m frontally disinhibited! What can I say?!)

OK, contemporary circus, first you had my curiosity.

Then you had my attention.

But now … now you have my total support and love.

Contemporary circus company, Circa, has come to Charleston, South Carolina, as part of Spoleto USA’s 50th season, with their Humans 2.0. This is the next installment after their successful Humans production — although with their current creation and context, the “2.0” more ironically evokes a software upgrade than a performance sequel.

Circa is one of just a handful of contemporary circus troupes trailblazing a completely new artform – performance or otherwise – across planet Earth. As with many new human cultural inventions, it is the result of a “conceptual blend,” as noted by art and cognitive philosopher, Mark Turner. In this case, the blend is the traditional circus “act” and circus apparatuses, blended into other areas of the performing arts, whether theater, dance, performance art, and/or opera.

Circa hails from Australia, and for whatever reason, that is one of just a few (call it “the other hand-ful”) regions that have nurtured this movement into global fruition for all of us. Those regions, over the past several decades, include France, Quebec, the West Coast of the United States, a smattering from Great Britain, and a surprisingly large contingent from Australia. Now, I could make jokes about why French culture supports this, but I won’t, cuz I dig French culture. And I could make jokes about those West Coast hippies, but I won’t. Poor hippies. But for Australia — why Australia? I’m going to go with: 1) they seem to have a disproportionate amount of strong and sexy bodies down there (no fair!); and 2) I like to imagine that, after experiencing Humans 2.0, that perhaps their culture was influenced by the Luddites who were shipped to Australia-as-penal-colony, forging a culture of artisans that fought against the ugliness and inequality produced by machines and instead for the beauty and community produced by … HUMANS.

I had the good fortune and privilege to experience Circa twice in two days – their lovely opera-circus fusion of Dido and Aeneas, which I reviewed for the Charleston Post and Courier, and now their dance-circus fusion of Humans 2.0, both at the Sottile Theatre in Charleston (I only wish I hadn’t gotten sick and had to miss their Duck Pond, for which I had tickets in Seattle earlier this year, or else I could’ve covered the trifecta! lol….)

Humans 2.0 starts — attacca subito! — immediately after the perfunctory “turn off your cell phones” pre-announcement (perhaps I was startled because I expected to then hear a “land-acknowledgement,” naïve me). And we see – what? The whole 10-person ensemble of performers are doing … what? … warm-ups? Aren’t these just … oh, wait, no … these aren’t just simple push-ups. These are perfect one-armed push-ups, with no cheating, and countless reps without tiring, all to groovy music. Thus, what will become a most beautiful display of physical theater in skill and artistry starts with the simplest-appearing of physical exercises – and yet already the hulkiest of physical trainers must be pretty darn impressed.

The simplicity very quickly evolves into more interesting movements, as they begin to leap or roll over one another. As imperceptivity as the changing music in a phasing piece by Steve Reich, the ensemble has soon evolved into a cohesive “performance,” with their various circus skills so perfectly integrated with one another and within an overall staging, which itself starts to take an increasingly symbolic meaning, that one realizes that … hey, wait a minute…. What is this? One is going to have to use that word. That “dance” word. “Choreography.” I mean, are these circus-like acrobatics? Yes. But is it feeling, without a doubt, much more like a modern dance production? Absolutely yes. Welcome to just one of the myriad ways contemporary circus artists are inventing a brand new artform right under our collective zeitgeist noses. (Man, it must be thrilling to be them, lucky bastards. And here I was, jealous of our grunge rockers in Seattle in the early ‘90s, merely creating a new rock scene. Ha! Chopped liver, on a human-history-cultural-scale! Lol.)

The opening act finally evolves with the whole ensemble in a line, circling around one member as the “hub” at center stage, as if they were all a spoke of a wheel, or a hand on a clock, the sort of motif that returns again and again – movements that seem a contrast to our main theme for the performance, of “humanity.” This was something mechanical, something disturbingly Koyaanisqatsi-ish.

After this group ensemble, a smaller set piece, with fewer performers, to give others breaks in between. Different scenes in our show had different suggested themes, or stories, about Homo sapiens sapiens. There was a “sexy” story, that was mainly between a man and a woman, with the woman making very coy gestures to the man throughout, as they … you know … leaped onto — or away from — each other, and threw each other around and up in the air in mind-boggling fashions (I guess, metaphorically, what we all do in our relationships?).

One of our “stories” was about “dance” itself, in a humorous manner. Silly twangs and beats from the soundtrack, while performers accentuated their hips to the beats to let us know, “this one is about humans being groovy, yo.” Here, and a few times elsewhere, there were some “robotic” movements — to possibly comment on the robotics that are fast-approaching, on the horizon, running at us, trying to catch up with their A.I. software brains who are a bit ahead of them and almost on top of us!? … Or, maybe it was just fun and groovy robot dancing? (Or both, with irony? – “The humans are dead!”)

There is a lot of “hand-to-hand” work/skill throughout, where a “base” performer holds another performer up often just with their palms. There are also wonderful ariel sets, one featuring two ropes dangling down, that climaxes with the artist having each foot grabbing each rope, then stretching apart, until she holds herself up completely with her ballerina “splits.” Another had a long single rope, that climaxes with a 30-foot high “death-defying” spinning free-fall back down safely to the floor. (Never fails to elicit gasps.)

But for the most part, these acts use little in the way of “circus apparatus”. No pole. And no juggling, either. And goodness help me, no gaudy, cheesy “wheel of death.” (Lol.) This was primarily a focus on performers, and their bodies, thus, creative and audacious acrobatics were center stage for most of the performance. They might not have a cannon, but guess what? When five strong performers hurl one small performer across the stage with all their might – it sure looked like she was fired out of a friggin’ cannon!

It is impossible not to appreciate what must go into training a body to perform these skills, skills that take years to master. But somehow, Humans 2.0 goes even further. They have several moments where even in the still parts — where a performer does NOT move at all – one is still in awe. Take this performer here, stiff as a board and being twirled around. To stay stiff despite those momentums and accelerations and decelerations must take just as much work adjusting various muscles to stay so rigid as one would need flopping around. Or maybe more? In another beautifully creative “still” moment, one performer is held up in the air as if on the ground on all fours, with each limb on four different performers’ base-heads. Two of the base-performers then leave, yet she stays completely still, despite all of her downward force now applied to just the other two, as opposed to all four. Two limbs needing twice the strength suddenly, the other two needing to relax completely. Yet without moving at all, and all while up in the air. Then the other two come back, the other two leave, and still … still. And so on. The performer perfectly motionless throughout. I never thought I could be so impressed with an acrobat who appeared to be doing … “nothing.”

Flying into the air and being caught was a beautiful motif through the performance. Sometimes, it is even done with an ensemble-member leaping or falling backwards, blindly, like one of those exercises at corporate retreats (except far more dangerous), trusting and knowing that they would be caught, and safe. (Although – twice they pulled out the ol’ “gimme 5, up high, down low, too slow,” trick, as a performer would fly up into the arms of another and be caught, once, twice — and then dropped the last time for comedic effect. But also symbolic, no doubt. Sometimes things go wrong with humans. Sometimes people, sadly, cannot be trusted…?)

A “squishy-squeamish stunt” seems another common motif for the group. Where one person will lay prone, and another will walk right onto their back. Then they up the stakes — they’ll be supine and the other will walk directly on their belly. Eesh. (Obviously needs very strong abs/”core” strength.) It gets all the creepier when a larger person steps squarely on a smaller person’s abdomen, and especially when a man walks on a woman, with how we’ve all been gender-encultured, and with all of the violence against women in the world. (I think only Kathleen Hanna is expected to “walk all over” men.) Then the climax – a smaller man (who actually looks like Elijah Wood!) leapfrogs from one stomach to another across the stage, with the “lily pad” performers getting farther and farther apart, and thus the jumps get higher, landing with more kinetic energy, and thus needing more equal and opposite force to stop him (so their guts won’t spill out everywhere! Geesh!) (Now we all see why it would be so horrible to be killed from “pressing,” Just one of the gloriously imaginative ways we “humans” used to execute one another….)

There were only a few “flubs.” (When you take hundreds of risks a night, a few inevitably won’t “land” – literally.) Once, the top person of a three-person-high totem pole – one standing on the shoulders of another, who was standing on the shoulders of a big base performer — was going to somehow do a 360-degree turn, alternating the feet on the shoulders, causing a lot of Jenga-game-type wobbling of the whole tower. Alas, she did not quite make it — and fell! — from at least 12-feet up in the air, somewhat out of control. But we suddenly understood why other performers had been surrounding the tower — for this very possibility — and caught her effortlessly. Actually, surprisingly gracefully. And the beautiful thing about that – it was met with one of the biggest bits of applause for the whole show. Recognized as a “successful failure,” like an Apollo 13 mission, or something. Applauding safety. For everyone caring for each other, even when things go wrong. (Goodness help me, if I’m ever in an audience that boos something like that because it was a “failure,” I think I’d totally lose my shit.) For me, this was an acrobatic dramatization/metaphor for humanity’s newest branch of Ethics – Carol Gilligan’s “Care Ethics.” We – human beings — have all been helpless in our infancy. And we will all become helpless, at some point, either with disability or aging. Part of this newer ethical code for humanity is simply recognizing that, and therefore recognizing that we are community, and that there is an ethical duty to care for one another.

A final three-person tower concludes with that wonderfully-controlled (and caring) “slow-motion-collapse,” segueing into a return of that ensemble-as-spoke, or clock, or moving through time, to book-end the night….

In terms of what he wants from the culture of contemporary circus, Director Lifschitz sounds as opinionated as Richard Wagner, if not nearly as strict. (Maybe he’s more of an anarchist-Wagner – the latter of whom did hang out with Bakunin, after all?) For example, he does not like applause during performances, desiring, instead, for everyone to sit quietly and take in the whole piece, similar to Western classical music culture? (He sounds outright disgusted, lol! “Applause is a kind of simian gesture, like monkeys we bang the hands together,” he told the authors of Contemporary Circus.) Like … for real? You think people are going to hold back clapping when they just saw four guys flip a small lady across the stage, only to land perfectly on top of the shoulders of someone else? You don’t want us to clap for that? Still, to his and all contemporary circus artists’ credit — the obsessive Wagner might have wanted Gesamtkunstwerk for his operas, but even he forgot to include the circus acts! (And also, perhaps Lifschitz has conceded? There are several moments where the performers will pause briefly after a 5-7 minute “act” and look straight out to pointedly accept applause for whatever insanely incredible thing it was that they just did.)

Ori Lichtik’s original music starts with simple slow strings that gradually increase in tempo, crescendos, adding additional strings, and then some chimes, for the first act. These sorts of touches, smoothly coinciding with the choreography, are yet another layer to savor in this work. While Circa did a fabulous job blending with an old opera, with Dido, in their other production (where they also added other Purcell works, like the sublime Funeral of Queen Mary, in pastiche-fashion), how fortunate they are to have a composer to work with, who can build the music around the movements, drawing from us a more complete and powerful feeling. It was pulsing, fairly minimalistic, akin to Vangelis or Tangerine Dream, or at one point, it even did sound like the phasing from Reich’s “Music for 18 Musicians”. Paul Jackson as Lighting Designer gave us a simple, stark palate of colors to illuminate the giant white circular disc/mat they performed upon, slowly varying colors throughout, highlighting the performers and ideas. They could become stark red for a creepy part, a soothing blue for a loving moment.

Human culture is an amazing thing — as pointed out by evolutionary cognitive scientist, Merlin Donald. We are not JUST our genetic makeup and evolved large brains, that came about due to our mastery of fire and obtaining more protein (basically little scared ape-ancestors that cut the line to the top of the food chain, overnight). We are each, also, in a co-evolutionary give-and-take with our broader cultures and “external symbolic systems”. And ARTISTS are many of the inventers of the new blends that ultimately move HUMANITY and its culture forward, evolving into a new cultural genetic code. Dawkins’ “memes.” Lamarckian.

The Pope coincidentally released his first encyclical the same day Humans 2.0 premiered at Spoleto USA. And it was about the perils of allowing AI — that new, non-human, autonomous consciousness, to take over our lives and our ethics. It is a welcome document. But if you’re more of a secular humanist like myself, and don’t want to just switch out the tech-bros’ amorality with Rome’s ancient rules, but still want to feel in solidarity with the idea, then be motivated by these wonderful artists, who have similar ideas about how magnificent we are as human beings (and we really are). If you want to be amazed — in the context of these rapidly advancing, potentially dangerous technologies — then I recommend seeing Humans 2.0. (Hey robots – look what we can create! Look what we can do!)

Magnificant humanity? It is right here in this production, with these ten beautiful performers from Circa, these humans who give us their all:

Shea Baker, Maya Davies, Lisa Goldsworthy, Jordan Hart, Barney Herrmann, Oscar Morris, Kimberley Rossi, Sophie Seccombe, Zachery Stephens, Lachlan Sukroo.

VISTA QUEEN to Return to Trustus Theatre for 27th Annual Lip Sync Battle Fundraiser

Thu, 28 May 2026 05:23:44 PST

Trustus Theatre will present the 27th Annual Vista Queen, a glittering lip sync battle and fundraiser all in support of our theatre home. Hosted by the fabulous Patti O'Furniture, the event will take place on Friday, June 5th, 2026, at Trustus Theatre, located at 520 Lady Street in the heart of Columbia's Vista district.

This year's Vista Queen will once again feature three local teams, each coached by an iconic Columbia drag queen, competing in an electrifying lip sync showdown. The teams — 2 GLAMMMMM To Give A DAMN, The Mothers Are Mothering, and Cellulite Block Tango — will perform all night, delivering high heels, high notes, and even higher energy. Expect a night of fierce competition, dazzling performances, and a celebration of community spirit.

Vista Queen serves as Trustus Theatre's largest annual fundraiser, supporting essential theatre operations and programming. Proceeds from the event will aid in much-needed repairs and upgrades to the theatre's facilities.

FOOTBALL FOOTBALL FOOTBALL FOOTBALL to Make World Premiere at The Warehouse Theatre

Wed, 27 May 2026 22:49:27 PST

FOOTBALL FOOTBALL FOOTBALL FOOTBALL (or I Love Lave Dash) starts out in the insanely fast-paced headquarters of an American football team where coaches and marketers collide over what will become the most “momentous” (maybe infamous) draft in history.

In front of them is a choice to make: Draft the multiethnic finesse machine Lave Dash? Or draft the salt-of-the-earth sack monster Mervin Gufflinson the First? Or can they do the impossible and turn the world upside down by drafting them both?

Tony nominee (HELL'S KITCHEN) and Pulitzer finalist (THE ELABORATE ENTRANCE OF CHAD DIETY) Kristoffer Diaz takes the most popular sport in America and leaves no laugh unturned as the two top draft picks smash their way through offensive lines, the press room, politics, at least one intern, and their own heads. What results is an over-the-top look at the spectacle and chaos of sports, the unifying power of a shared goal that might not be in our best interests, and what happens when we make sporting icons the most dominant influence in our lives.

“It is an incredible honor to be the first theater anywhere to produce a play by Kristoffer Diaz,” says Producing Artistic Director Mike Sablone. “Making it even more exciting is producing a world premiere that's this joyful, this funny, this insightful, this keyed into both the American dream and the role the American media plays in promoting America's (New) Favorite Pastime.”

“With any new work people want to know, ‘What's this show like?' Get ready! If you enjoyed Kate Hamill's PRIDE AND PREJUDICE, GUTENBERG! THE MUSICAL!, Key & Peele (specifically the East/West Bowl sketch), Comedy Bang! Bang!, Lonely Island, or Banana Ball, this show is right up your alley. If you like football, if you hate football, doesn't matter…this show is for you.”

FOOTBALL features The Warehouse debuts of Ellie MacPherson (THE PLAY THAT GOES WRONG off-Broadway) and Caroline Jane Davis. They are joined by Kelseigh Redmon (THE GAME), Courtney Sims (THE WOLVES, THE LEGEND OF GEORGIA MCBRIDE), Maddie Tisdel (WITCH, THE ROCKY HORROR SHOW), Lexie West-Thompson (THE WOLVES).

This comedic feat at The Warehouse Theatre is directed by Ashley Rodbro (resident director for HAMILTON including opening the “And Peggy” production in Puerto Rico starring Lin-Manuel Miranda, worldwide supervising associate director for MOULIN ROUGE! THE MUSICAL). She's joined on the creative team by Warehouse mainstays Will Lowry (Scenic - THE LEHMAN TRILOGY, PRIDE & PREJUDICE), Jessica Johnson (Costumes – ASSASSINS, ALL MY SONS), Kevin Frazier (Lights – WITCH, Sound – THE CRUCIBLE), Sarah Schaible (Sound – AN ENEMY OF THE PEOPLE, THE MOUNTAINTOP), and Amanda Sox (Props – THE LEGEND OF GEORGIA MCBRIDE).

I Pay What I Can Sunday sponsored by The Hammond Family is June 7th at 3:00pm with tickets being sold on a first come, first serve basis starting at 2:00pm. Talk Back follows the I Pay What I Can performance. Student discounts, I Pay My Age Rush, and Blue Star Theatre discounts for veterans and active military apply throughout the run. The show runs June 5th – 21st. More information including tickets can be found at WarehouseTheatre.com.

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.

Legends in Concert to Present BACK TO THE 80S in Myrtle Beach

Tue, 26 May 2026 17:08:42 PST

This summer, Legends in Concert is turning back the clock and turning up the volume with its all-new seasonal production, "Back to the 80s," running May 27 through September 5 in Myrtle Beach. Packed with powerhouse vocals, iconic hits, and high-energy performances, the show celebrates one of the most unforgettable decades in music history.

Headlining this must-see summer event is an all-star cast of world-class tribute artists, including Fernando Castro as Freddie Mercury, Stacey Whitton Summers as Pat Benatar, OneGunn as Bob Marley, and Isaiah "Ice" Mercado as Michael Jackson. Audiences can expect a non-stop ride through chart-topping hits, legendary Stage Presence, and authentic recreations backed by the Legends in Concert live band, professional dancers, and dazzling production.

From the rock anthems of Queen and Pat Benatar to the timeless grooves of Bob Marley and the unmatched magic of Michael Jackson, the show delivers a cross-genre celebration that keeps audiences on their feet all night long. It's the soundtrack of a generation, brought back to life!

FROZEN Set To Close Greenville Theatre's 100th Season

Sat, 23 May 2026 18:23:09 PST

Greenville Theatre has announced the grand finale of its landmark 100th season with Disney’s Frozen: The Musical.

Based on the Academy Award-winning animated film, join Elsa, Anna, Kristoff, and Olaf on the journey of a lifetime. Full of magic and humor for all ages, Frozen is a powerful tale of sisterhood, acceptance, and finding the true meaning of love. Featuring fan-favorite songs including “Let It Go,” “For the First Time in Forever,” “Do You Want to Build a Snowman?” plus brand-new songs, this magical production promises to be an unforgettable experience.

As the final production in Greenville Theatre’s centennial season, Frozen serves as a celebratory conclusion to a season honoring 100 years of storytelling, community impact, and artistic excellence. The production features a talented local cast, stunning costumes and scenic design, and the creative collaboration of Greenville Theatre’s dedicated artistic team.

“I cannot think of a more magical way for Greenville Theatre to conclude its historic, record-breaking season than with Frozen the Musical,” states Producing Artistic Director Max Quinlan. “This brand-new show truly showcases the talents of our staff, design team, and incredible artists of the Upstate. We are honored to bring this Disney magic to the Upstate community this summer.”

Performances start on Friday, June 5th, 2026, and tickets are on sale now. Show dates include Thursday, June 11th, 18th and 25th evening performances at 7:30pm. Friday, June 5th, 12th, 19th and 26th at 7:30pm, Saturday, June 13th, 20th and 27th matinees at 2:00pm, Saturday, June 6th, 13th, 20th and 27th evening shows at 7:30pm, and Sunday, June 7th, 14th, 21st, and 28th matinees at 3:00pm.

Tickets are just $45 to see this with military and Senior discounts. Student rush tickets are also available on the day of the show for just $20 with valid student identification. For more information or to purchase tickets, please visit the Greenville Theatre website or by calling the Box Office at 864-233-6238.

Please note only ages 4+ are permitted at this production.

Photo Credit: Eli Warren Photography & Ryan Bradburn.

HEATHERS THE MUSICAL Will Launch North American Tour in Baltimore in May 2027

Fri, 22 May 2026 09:53:56 PST

Heathers the Musical will launch its first-ever North American tour May 15-22, 2027 at the Hippodrome Theatre in Baltimore, MD, traveling the country to play more than 35 cities in multiple touring seasons. The list of currently announced dates can be found below, with more dates to be announced in the future.

As BroadwayWorld previously announced, Heathers will also play Australia and New Zealand next year, with stops in Melbourne, Sydney, Adelaide, Gold Coast, Canberra, Perth, Auckland, Wellington, and Christchurch.

The New York return of Heathers celebrates its one-year anniversary at New World Stages in June 2026, where it has extended multiple times due to demand. Read the reviews here.

Based on the 1989 cult film starring Winona Ryder and Christian Slater, Heathers first premiered in Los Angeles in 2013 to sold-out audiences before transferring to New York’s New World Stages in 2014. The show was reimagined for its 2018 London debut, featuring new songs and updated script elements that are now being showcased in all international productions.

Heathers features book, music and lyrics by Kevin Murphy (Reefer Madness The Musical) & Laurence O’Keefe (Legally Blonde The Musical, Bat Boy The Musical), directed by Andy Fickman.

Welcome to Westerberg High, where popularity is a matter of life and death and Veronica Sawyer is just another of the nobodies dreaming of a better day. But when she's unexpectedly taken under the wings of three beautiful and impossibly cruel Heathers, her dreams of popularity finally start to come true. That is until J.D., the mysterious teen rebel, teaches her that it might kill to be a nobody, but it’s murder being a somebody.

The creative team includes Choreographer/UK Associate Director Gary Lloyd, with Additional Choreography by Stephanie Klemons. Set and Costume Designer is David Shields, Lighting Designer is Ben Cracknell, Sound Designer is Dan Samson, and Hair Designer is Caitlin Molloy. Co-Costume Designer is Siena Zoë Allen. Fight Director is Lisa Connell. Intimacy Coordinator is Rebecca Reaney.

Music Supervisor is Will Joy. Arrangements and Orchestrations are by Laurence O’Keefe and Ben Green. Music Coordinator is Kristy Norter. Production Management is by Tandem Production Partners. Casting is by The Telsey Office, Rachel Hoffman CSA, and Jimmy Larkin CSA. General management is by Pemberley Productions (Tim Smith, Terri Kohler).

Tour Dates

Baltimore - The Hippodrome Theatre
May 15 – 22, 2027

New Haven - Shubert Theatre
June 1 – 6, 2027

Charlotte - Belk Theater At Blumenthal Arts Center
June 29 – July 4 2027

Greenville - Peace Center
July 6 – 11, 2027

North Charleston PAC to Host BEST OF BROADWAY Open House Party

Wed, 20 May 2026 05:22:12 PST

The North Charleston Performing Arts Center's Best of Broadway series will host its annual “Select Your Seat” Open House Party on Thursday, June 4 from 5:00 PM - 7:00 PM at the North Charleston Performing Arts Center. Broadway fans are invited to come out and “select their seats” for the 2026-2027 season. The party features complimentary hors d'oeuvres and wine, giveaways, backstage tours, and live guest performances from THE BODYGUARD and THE NOTEBOOK. Be among the first 100 guests through the door and receive a complimentary Broadway-themed gift.

For fans who are unable to attend the Open House Party, season tickets are on sale now and available online at www.NorthCharlestonColiseumPAC.com or by calling the season ticket hotline at (843) 202-ARTS (2787). Single show tickets will go on sale at a later date.

The 2026-2027 Best of Broadway series opens the season with MRS. DOUBTFIRE (October 6–11, 2026), followed by THE BODYGUARD (November 17–22, 2026) and A BEAUTIFUL NOISE (December 8–13, 2026).

The season continues with the return of the multi award winning hit HAMILTON (February 9–21, 2027), along with THE NOTEBOOK (March 30–April 4, 2027), and HELL'S KITCHEN (April 27–May 2, 2027).

Two special Broadway add-on productions round out the season: THE BOOK OF MORMON (January 22–24, 2027) and BLUEY'S BIG PLAY (March 2–3, 2027). All performances are at the North Charleston Performing Arts Center.

Building on the success of recent seasons, the Best of Broadway series continues to offer audiences more flexibility than ever to experience Broadway in the Lowcountry with eight performances showing Tuesday through Sunday. The expansion of performances to Tuesday, Wednesday, and Thursday evenings opens even more opportunities for audiences to secure best-in-house seating all season long.

“The Best of Broadway series continues to be a cornerstone of North Charleston's thriving arts community, and we're proud to see its incredible growth over the years,” says Reggie Burgess, Mayor of the City of North Charleston. “Last season marked an exciting milestone as we expanded many of our engagements from weekend runs to full week-long performances—allowing even more residents and visitors to experience the magic of Broadway right here at home.

This upcoming season builds on that momentum, bringing an exceptional and diverse lineup of productions direct from New York City to the Lowcountry. From beloved classics to bold new works, the 2026–2027 season reflects the very best of Broadway and continues to inspire, entertain, and unite our community through the power of live theatre.”

“What an exciting season we have ahead for 2026–2027,” said Scott Keith, General Manager of the North Charleston Performing Arts Center. “Building on last year's expansion to full week-long engagements, we're proud to continue offering more opportunities than ever for audiences to experience Broadway in North Charleston.

The best way to secure seats to all 2026–2027 Best of Broadway performances is by becoming a season ticket holder. Current subscribers can renew now, and new season ticket packages will go on sale to the general public on Wednesday, May 13, at 10 AM.

Season ticket packages start at just $330 and are available online at www.NorthCharlestonColiseumPAC.com or by calling (843) 202-ARTS (2787). Flexible payment plans are available, with packages reservable for as little as $50 down. Individual show tickets will go on sale at a later date.

In addition to enjoying the same great seats for every performance, the Best of Broadway season ticket holders receive a variety of exclusive benefits, including free parking for season shows, priority access to tickets for North Charleston Coliseum & Performing Arts Center events before they go on sale to the public, and special discounts and offers.

Group sales for all shows are also available for parties of 10 or more by emailing Groups@northcharlestoncoliseumpac.com. Group outings offer a unique and memorable way to experience Broadway together—perfect for corporate events, school groups, community organizations, and more.

The Best of Broadway series features the best in national touring Broadway and is presented by the Nederlander Producing Company of America and the North Charleston Performing Arts Center.

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

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.

Tickets on Sale Now for Best of Broadway 2026-2027 Season at North Charleston PAC

Wed, 13 May 2026 14:34:21 PST

The Best of Broadway series returns to the North Charleston Performing Arts Center with an exciting and diverse 2026–2027 season, bringing a dynamic mix of beloved favorites and bold new productions direct from New York City. Building on the success of last year's expansion to week-long engagements, audiences will once again enjoy more opportunities than ever to experience Broadway close to home, with performances running Tuesday through Sunday.

The season debuts with MRS. DOUBTFIRE, the musical comedy that tells the hysterical and heartfelt story of an out-of-work actor who will do anything for his kids. Next up, based on the 1992 film starring Whitney Houston and Kevin Costner, THE BODYGUARD is a thrilling, romantic musical that combines high-stakes suspense with unforgettable music like “I Will Always Love You,” “I Wanna Dance with Somebody.”

The season continues with A BEAUTIFUL NOISE, created in collaboration with Neil Diamond himself, this is the uplifting true story of how a kid from Brooklyn became a chart-busting, show-stopping American rock icon. Next, back by popular demand is the multi-award-winning HAMILTON, the epic saga that follows the rise of Founding Father Alexander Hamilton as he fights for honor, love, and a legacy that would shape the course of a nation.

Continuing the season is a hit show that is based on the best-selling novel that inspired the iconic film, THE NOTEBOOK that tells the incredible love story of Allie and Noah, both from different worlds. And closing the season is HELL'S KITCHEN, the award-winning Broadway musical created and inspired by 17-time Grammy Award winning Alicia Keys, that takes you on the journey of Ali–a 17-year-old girl full of fire.

This season will also include two exciting Broadway add-on options: THE BOOK OF MORMON, the nine-time Tony Award-winning Best Musical, and the family favorite BLUEY'S BIG PLAY, a theatrical adaptation of the Emmy award-winning children's television series.

The best way to secure seats to all 2026–2027 Best of Broadway performances is by becoming a season ticket holder. Season ticket packages are on sale now.

2026 – 2027 SEASON SHOW DESCRIPTIONS

MRS. DOUBTFIRE

October 6 – 11, 2026

Everyone's favorite Scottish nanny is headed to N. Charleston in this musical. Based on the beloved film, MRS. DOUBTFIRE tells the hysterical and heartfelt story of an out-of-work actor who will do anything for his kids.

THE BODYGUARD

November 17 – 22, 2026

Based on the 1992 film starring Whitney Houston and Kevin Costner, THE BODYGUARD is a thrilling, romantic musical that combines high-stakes suspense with unforgettable music. Former Secret Service agent turned bodyguard, Frank Farmer, is hired to protect superstar Rachel Marronfrom an unknown stalker. Both expect to be in charge of their situation-what they don't expect is to fall in love.

THE BODYGUARD features a whole host of unforgettable classics including “Queen of the Night,” “So Emotional,” “I Will Always Love You,” “I Wanna Dance with Somebody,” "Saving All My Love," and "One Moment in Time", alongside thrilling plot twists and emotional drama. THE BODYGUARD is an electrifying combination of romance, suspense and chart-topping music that will captivate audiences from start to finish.

A BEAUTIFUL NOISE

December 8 – 13, 2026

Created in collaboration with Neil Diamond himself, A BEAUTIFUL NOISE is the uplifting true story of how a kid from Brooklyn became a chart-busting, show-stopping American rock icon. With 120 million albums sold, a catalogue of classics like "America," "Forever in Blue Jeans," and "Sweet Caroline," an induction into the Songwriters and Rock and Roll Halls of Fame, a Grammy Lifetime Achievement Award, and sold-out concerts around the world that made him bigger than Elvis, Neil Diamond's story was made to shine on Broadway-and head out on the road across America.
Like Jersey Boys and Beautiful: The Carole King Musical before it, A BEAUTIFUL NOISE: THE Neil Diamond MUSICAL is an inspiring, exhilarating, energy-filled musical memoir, that tells the untold true story of how America's greatest hitmaker became a star, set to the songs that defined his career.

HAMILTON

February 9 – 21, 2027

The unforgettable story of passion, unstoppable ambition, and the dawn of a new nation, seen by more than 28 million people around the world.

HAMILTON is the epic saga that follows the rise of Founding Father Alexander Hamilton as he fights for honor, love, and a legacy that would shape the course of a nation. Based on Ron Chernow's acclaimed biography and set to a score that blends hip-hop, jazz, R&B, and Broadway, HAMILTON has had a profound impact on culture, politics, and education. HAMILTON features book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire. In addition to its 11 Tony Awards, it has won Grammy and Olivier Awards, and the Pulitzer Prize for Drama.

THE NOTEBOOK

March 30 – April 4, 2027

Based on the best-selling novel that inspired the iconic film, THE NOTEBOOK tells the story of Allie and Noah, both from different worlds, who share a lifetime of love despite the forces that threaten to pull them apart.

THE NOTEBOOK is directed by Michael Greif (Dear Evan Hansen, Next to Normal, RENT) and Schele Williams (The Wiz, Aida), and features music and lyrics by multi-platinum singer-songwriter Ingrid Michaelson, book by Bekah Brunstetter (NBC's “This Is Us”), and choreography by Katie Spelman.

HELL'S KITCHEN

April 27 – May 2, 2027

HELL'S KITCHEN, the award-winning Broadway musical created and inspired by 17-timeGrammyAward winning Alicia Keys, takes you on the journey of Ali–a 17-year-old girl full of fire. Relatable, raw, and refreshingly fun, it's a celebration of finding yourself, your purpose, and the people who lift you up. The music—a mix of Keys' greatest hits and new songs written exclusively for the show—and exhilarating choreography bring to life a story that speaks to you no matter where you're from, where you've been, or where you're going. Feel the energy of this multi-award-winning musical and experience where dreams begin: HELL'S KITCHEN

THE BOOK OF MORMON (Special bonus show!)

January 22 – 24, 2027

THE BOOK OF MORMON is a nine-time Tony Award-winning Best Musical. Contains explicit language.

BLUEY'S BIG PLAY (Special bonus show!)

March 2 – 3, 2027

Bluey's Big Play is a theatrical adaptation of the Emmy award-winning children's television series. Join the Heelers in their first live theatre show made just for you, featuring brilliantly created puppets, this is Bluey as you've never seen it before, brought to real life

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.

Kelsey Mesa Named New Executive Artistic Director at Trustus Theatre

Wed, 29 Apr 2026 21:51:39 PST

Trustus Theatre has announced the appointment of Kelsey Mesa as its next Executive Artistic Director. A dynamic leader, director, and educator, Mesa brings a wealth of experience from her tenure at the Kennedy Center in Washington, D.C., along with an expansive body of work across the national theater landscape.

With over 17 years of arts management experience, Mesa most recently managed the Kennedy Center American College Theatre Festival, which celebrates the work of theatre in higher education and provides opportunities for student theatre artists to transition into the professional field.

Ty Zeigler, Board President, said, “Kelsey brings a fresh perspective to Trustus after so many years at the Kennedy Center. We are excited about Kelsey's leadership and believe she can help Trustus grow, continuing our theatre's vision of artistic innovation and excellence.”

An alumna of Directors Lab North, Mesa has also distinguished herself as a leader in theatre education and development. In 2021, she was awarded the Kennedy Center Gold Medallion, honoring her outstanding contributions to the teaching and production of theatre, and her impact on the Kennedy Center American College Theater Festival (KCACTF).

Dewey Scott-Wiley, Associate Artistic Director, said, “I have witnessed Kelsey's incredible leadership and directing prowess firsthand through our work with the Kennedy Center American College Theatre Festival. She is equal parts inspiring and engaging, and we are extremely fortunate to have her lead us at Trustus.”

Mesa has built an impressive portfolio of directing credits at a wide range of respected institutions and companies, including the Hub Theatre, The Catholic University of America, Taffety Punk Theatre Company (where she is also a member), The Inkwell, and Folger Theater's Reading Room Festival, among others. Her work is recognized for its bold storytelling, collaborative spirit, and commitment to artistic excellence.

During her tenure at Trustus, she will focus on strengthening the theatre's long-term sustainability, deepening engagement with the community and fellow arts organizations, championing new works, and continuing the theatre's trajectory of growth.

Originally from Miami, Florida, Mesa is a graduate of Northwestern University. Her diverse artistic background and commitment to cultivating vibrant creative communities position her to lead Trustus Theatre into its next chapter.

Mesa brings a strong commitment to new play development, with a focus on work that inspires audiences and drives meaningful conversation. Her writing often centers on women and examines the impact of oppression, stereotypes, and identity. She believes that the best play is one that drives audiences to action and motivates behavioral change.

Mesa is “thrilled to be joining a theatre company like Trustus that prioritizes community and equity while maintaining excellence and rigor in its theatre-making.” She is also excited to live in a thriving city like Columbia and looks forward to being part of its growth.

Trustus Theatre's Board of Directors expressed enthusiasm about Mesa's appointment, citing her visionary leadership, artistic rigor, and deep commitment to inclusive storytelling as key qualities that will shape the organization's future.

Mesa assumed the role of Executive Artistic Director on April 27, 2026.

Kelsey Mesa Named New Executive Artistic Director at Trustus Theatre

Wed, 29 Apr 2026 21:51:39 PST

Mesa assumed the role of Executive Artistic Director on April 27, 2026.

RAGTIME Will Launch National Tour in Fall 2027

Wed, 29 Apr 2026 16:00:22 PST

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

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

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

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

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

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

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

Wed, 29 Apr 2026 11:23:47 PST

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

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

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

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

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

Tour Dates

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Play Broadway Games Every Day in May and Win a Merch Prize Pack

Wed, 29 Apr 2026 08:30:20 PST

Broadway fans, your daily warm-up just got a whole lot more rewarding. BroadwayWorld is launching the May 2026 Games Challenge - a month-long streak competition open to fans across the U.S., with a $250 merch prize pack featuring merchandise from popular Broadway shows up for grabs.

The challenge runs all 31 days of May 2026 (Eastern Time), and all you need to enter is a free BroadwayWorld account.

How It Works

The rules are simple: play at least one BroadwayWorld game every day in May. That's it. Complete all 31 days and you'll earn one entry to win the prize pack. Tracking is automatic once you're logged in - your progress populates on the challenge page as you play, no manual check-ins required.

Any of these six games count toward your daily credit:

Make-Up Days: Because Life Happens

Miss a day? You're not out of the running. Play all six games in a single day and you'll earn a make-up credit, which automatically forgives your earliest missed day. You can bank up to three make-up credits over the course of the month - so a skipped Tuesday or a busy weekend doesn't have to end your streak. Credits are applied to your missed days in order, oldest first.

Ready to Start Your Streak?

The May 2026 BroadwayWorld Games Challenge runs May 1-31 (Eastern Time) and is open to U.S. residents only.

Click here to get started. Sign in with your free BroadwayWorld account and your tracking begins automatically - no registration beyond that required.

See full rules and regulations here.

HADESTOWN, Audra McDonald, Leslie Odom, Jr. and More Set for Charleston Gaillard Center 2026–2027 Season

Fri, 24 Apr 2026 19:09:33 PST

The Charleston Gaillard Center has announced its 2026–2027 season, bringing together a remarkable range of artistic voices: world-renowned ensembles, celebrated soloists, and new commissions that reflect the full breadth of the performing arts.

From returning favorites to premieres that reflect a deepening investment in the creative process, the season affirms the Gaillard's commitment to both the presentation and creation of exceptional artistry. With each passing year, the Gaillard grows as a vital cultural destination for Charleston, the Lowcountry, and the broader Southeast.

"This season is a reflection of everything we believe the Gaillard can be," said Lissa Frenkel, President and CEO of the Charleston Gaillard Center. "Year after year, this stage becomes something more: a place where artists are invited to take risks, where new ideas find a home, and where audiences gather for experiences that stay with them long after the curtain falls. We are proud to bring together celebrated artists, bold new commissions, and unexpected collaborations that push the boundaries of what a performing arts center can offer. And we have more surprises still to come."

As a nonprofit performing arts center, the Gaillard depends on the support of its audiences and the generosity of its donors to fulfill a mission that extends far beyond the stage. Every ticket purchased, every seat filled in the Martha and John M. Rivers Performance Hall, and every generous gift helps sustain the work of the Education and Community Program, which has served more than 200,000 students from across the Lowcountry, including 100% of Charleston County Public Schools, and continues to deepen its reach across the region.

It is this community of audiences, artists, donors, students, and educators that make the following season possible.

Find a full schedule of the 2026–2027 season performances below (with more still to be announced). For tickets and membership information, visit gaillardcenter.org.

LOWCOUNTRY JAZZ FESTIVAL

September 4–6, 2026

Celebrate Charleston’s signature smooth jazz weekend as the Lowcountry Jazz Festival returns this September. Co-produced by Tony Clarke, this memorable three-day event features an all-star lineup, including Vincent Ingala (All White Party, September 4); Lakecia Benjamin and Phoenix, Peter White, and Anthony Hamilton (Day 1, September 5); and Keiko Matsui, Jonathan Butler, Rick Braun, and Richard Elliot (Day 2, September 6). For over two decades, Closing the Gap in Health Care, Inc., founded by Dr. Thaddeus J. Bell, has continued its mission to advance health equity. The festival remains its primary fundraiser, supporting vital programs across South Carolina and the Southeast. Co-presented with Closing the Gap in Health Care, Inc. Tickets already available.

BEEPLE x SŌ PERCUSSION

September 26, 2026 | 6:30pm doors, 8:00pm performance

A bold new collaboration comes to life at Beeple Studios in a one-night-only world premiere. Grammy Award-winning ensemble Sō Percussion joins visionary digital artist Beeple for a boundary-pushing performance that fuses live music with AI-driven visuals in an immersive studio setting. This special event reflects an ongoing commitment to expanding beyond the Gaillard’s campus and into the creative fabric of the community. All tickets include a pre-performance reception, setting the stage for an evening that is as celebratory as it is dynamic. Co-produced with Beeple Studios.

Akram Khan COMPANY

October 1–2, 2026 | 7:30pm

Celebrating 26 years of groundbreaking work, Akram Khan Company brings its latest and final touring production, Thikra: Night of Remembering, to the stage. The Gaillard is proud that Charleston is among a select few cities to welcome this landmark production—a poignant culmination of the company's extraordinary artistic journey. This powerful work reflects on memory, legacy, and the stories we carry forward, blending striking movement, evocative music, and rich cultural influences. Both intimate and expansive, it is a deeply moving meditation on remembrance and a fitting tribute to a company that has redefined contemporary dance worldwide. Support provided by donors to the Charleston Gaillard Center's Dance Initiative.

Meredith Willson'S THE MUSIC MAN

October 14, 2026 | 7:30pm

There is trouble in River City when a fast-talking salesman gets his heart stolen by the town librarian. Meredith Willson's six-time, Tony Award-winning musical comedy The Music Man follows Harold Hill, as he cons the people of River City, Iowa, into buying instruments and uniforms for a band that he vows to organize–this, despite the fact that he doesn't know a trombone from a treble clef. His plans to skip town with the cash are foiled when he falls for Marian, the librarian who transforms him into a respectable citizen by curtain's fall. Featuring songs such as "Seventy-Six Trombones," "Trouble," "'Til There Was You," "Pickalittle," and “Gary, Indiana," The Music Man is a family-friendly story to be shared with every generation.

BLACK VIOLIN

October 15, 2026 | 7:30pm

Beloved by Charleston Gaillard Center audiences, the genre-defying duo Black Violin returns with their blend of classical virtuosity and-hop beats. Comprised of Kev Marcus and Wil Baptiste, the group has created a sound that is entirely their own and captivated audiences worldwide with performances that are as innovative as they are electrifying. Tickets to become available in Summer 2026.

HENRY CHO: THE EMPTY NEST TOUR

October 17, 2026 | 7:30pm

Henry Cho brings his signature clean Southern comedy in a high-energy stand-up show that proves you don’t need profanity to be hilarious. Blending sharp observations about family life, marriage, parenting, and growing up Korean American in Tennessee, his comedy is equal parts heartwarming and side-splitting. A veteran of The Tonight Show and The Late Late Show, Cho delivers a polished, personal, and refreshingly relatable theater experience. Whether riffing on cultural mix-ups, church life, or everyday marriage negotiations, audiences leave feeling seen—and laughing hard. Co-presented with Outback Presents. Tickets already available.

CHUCHO VALDÉS 85TH BIRTHDAY CELEBRATION

with special guests Joe Lovano and Etienne Charles

October 20, 2026 | 7:30pm

NEA Jazz Master and winner of seven Grammy and seven Latin Grammy Awards, the Cuban pianist, composer, and arranger Chucho Valdés is the most influential figure in modern Afro-Cuban jazz. In a rich career spanning sixty years, Chucho has pushed boundaries in pursuit of new expressions in Afro-Cuban music. Chucho celebrates his 85th birthday in 2026 with an exciting new program featuring special guests Joe Lovano and Etienne Charles.

Jim Henson'S FRAGGLE ROCK: BACK TO THE ROCK LIVE

October 23, 2026 | 6:30pm

Gobo, Red, Mokey, Wembley, and Boober Fraggle set off on an epic adventure to uncover the lost pieces of the legendary Celebration Stone, an ancient treasure said to bring everyone together for the greatest party ever. Journeying through new caves and beyond, the Fraggles discover unexpected magic and the joy that emerges when people come together to care for one another and the world they share. Featuring beautifully crafted full-body costumes and puppets from Jim Henson’s Creature Shop, fan-favorite songs, and dazzling effects, this all-new musical brings Fraggle Rock to life on stage. Filled with humor, heart, and imagination, it is a joyful, family-friendly experience that delights new audiences while welcoming longtime fans on a nostalgic return to a beloved world.

GHOSTBUSTERS IN CONCERT

October 25, 2026 | 6:00pm

Experience the beloved 1984 classic film like never before, with the music performed on stage by an orchestra. Audience members will enjoy the ultimate movie concert experience as Ghostbusters is presented on a large HD cinema screen, fully synced to a live performance of Academy Award®-winning composer Elmer Berstein’s spine-tingling score. Tickets already available.

AN EVENING WITH David Sedaris

October 30, 2026 | 7:30pm

David Sedaris, America’s best-selling humorist and social satirist, returns following publication of his most recent book of short stories, Happy Go Lucky, and his first ever children’s book, Pretty Ugly. In his customary sartorial and humorous manner, David will make you laugh and think in equal measures, with all new, unpublished stories and commentary. As always, the reading will be accompanied by a pre- and post-show book signing. Co-presented with Innovation Arts & Entertainment. Books will be available for purchase onsite through Blue Bicycle Books.

THE COMPLETE Philip Glass PIANO ETUDES

November 1, 2026 | 5:00pm

One of the most influential composers of our time, Philip Glass created his complete set of twenty piano etudes as both a personal challenge and a musical diary showcasing works that have become some of the most intimate and compelling in his vast body of music. Presented in celebration of Glass's 90th birthday, this rare, large-scale performance brings his complete set of twenty piano etudes to life rare, large-scale performance featuring an exceptional lineup of 10 pianists, including Timo Andres, Inon Barnatan, Aaron Diehl, Lara Downes, Conor Hanick, Daniela Liebman, Jenny Lin, Christian Sands, and Charleston-based pianists Demetrius Doctor and Tom Hicks. Shared across multiple performers, these meditative and virtuosic works unfold as a sweeping portrait of a singular artistic voice, offering a mesmerizing evening of contemporary piano music. Produced by Pomegranate Arts. Presented in partnership with the College of Charleston International Piano Series.

TRISHA BROWN DANCE COMPANY

November 7, 2026 | 7:30pm

The Trisha Brown Dance Company celebrates the legacy of one of the most influential choreographers of the 20th century with a compelling repertory program featuring Set and Reset, Rogues, and Working Title. Founded in 1970 by vanguard postmodern artist Trisha Brown, the company continues to bring her groundbreaking work to audiences around the world. This program highlights Brown’s signature movement language—at once fluid, architectural, and playfully complex—through iconic collaborations with artists including Laurie Anderson and Robert Rauschenberg. Bold and visually striking, these works reflect a choreographic voice that forever reshaped contemporary dance. Audiences should watch for additional announcements as the Gaillard's celebration of Trisha Brown's legacy expands into unexpected corners of Charleston. Support provided by donors to the Charleston Gaillard Center's Dance Initiative.

RENÉE ELISE GOLDSBERRY

November 22, 2026 | 7:00pm

Broadway luminary Renée Elise Goldsberry—Tony and Grammy Award-winning star of Hamilton—brings her powerhouse voice and magnetic stage presence to the Gaillard for an electrifying evening of music. Known for originating the role of Angelica Schuyler in the Broadway phenomenon and for scene-stealing performances on screen, Goldsberry blends soul, blues, pop, folk, and gospel roots in a performance that celebrates the music that shaped her. Joined by a dynamic group of backup singers, she leads audiences through a high-energy, feel-good musical journey—part concert, part revival—filled with soaring vocals, rhythmic clapping, and irresistible joy.

CABARET ROYALE BY UNDERBELLY

(New Commission)

December 2026

Cabaret Royale returns to the Spiegeltent with an all-new production for 2026, as the iconic venue celebrates its fifth year on the Terrace Lawn. Expect a swirl of glamour, grit, and high-energy thrills as boundary-pushing performances, sharp-witted comedy, and bold spectacle take the stage in this unforgettable evening of entertainment. Created by London’s acclaimed Underbelly, this dazzling experience is the perfect addition to your holiday traditions—a night of surprise and sparkle you’ll be talking about long after the evening ends. Tickets to become available late Summer 2026.

HADESTOWN, Audra McDonald, Leslie Odom, Jr. and More Set for Charleston Gaillard Center 2026–2027 Season

Fri, 24 Apr 2026 19:09:33 PST

It is this community of audiences, artists, donors, students, and educators that make the following season possible.

Find a full schedule of the 2026–2027 season performances below (with more still to be announced). For tickets and membership information, visit gaillardcenter.org.

LOWCOUNTRY JAZZ FESTIVAL

September 4–6, 2026

BEEPLE x SŌ PERCUSSION

September 26, 2026 | 6:30pm doors, 8:00pm performance

Akram Khan COMPANY

October 1–2, 2026 | 7:30pm

Meredith Willson'S THE MUSIC MAN

October 14, 2026 | 7:30pm

BLACK VIOLIN

October 15, 2026 | 7:30pm

HENRY CHO: THE EMPTY NEST TOUR

October 17, 2026 | 7:30pm

CHUCHO VALDÉS 85TH BIRTHDAY CELEBRATION

with special guests Joe Lovano and Etienne Charles

October 20, 2026 | 7:30pm

Jim Henson'S FRAGGLE ROCK: BACK TO THE ROCK LIVE

October 23, 2026 | 6:30pm

GHOSTBUSTERS IN CONCERT

October 25, 2026 | 6:00pm

AN EVENING WITH David Sedaris

October 30, 2026 | 7:30pm

THE COMPLETE Philip Glass PIANO ETUDES

November 1, 2026 | 5:00pm

TRISHA BROWN DANCE COMPANY

November 7, 2026 | 7:30pm

RENÉE ELISE GOLDSBERRY

November 22, 2026 | 7:00pm

CABARET ROYALE BY UNDERBELLY

(New Commission)

December 2026

MAMMA MIA! At Byrnes High School to Offer $5 Industry Night

Thu, 23 Apr 2026 18:31:40 PST

Get ready to dance the night away! The Byrnes High School Theater Department has announced a special $5 Industry Night performance of the beloved musical MAMMA MIA!

This one-night-only event offers theater professionals, educators, and community members an incredible opportunity to experience the joy, energy, and infectious music of ABBA's greatest hits-all at an unbeatable price.

"We wanted to make this show accessible to everyone in our school and theatre community who loves great theater," said Taylor Smith director of Theatre. "Industry Night is our way of saying thank you to the people who inspire us and support the arts."

MAMMA MIA! featuring all the chart-topping ABBA favorites-from "Dancing Queen" to "Take a Chance on Me"

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AN AFTERNOON WITH DARLEY NEWMAN to Come to Charleston Gaillard Center

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BEEHIVE: THE 60'S MUSICAL to Open at Centre Stage

Ticket Information

BEEHIVE: THE 60'S MUSICAL to Open at Centre Stage

Ticket Information

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Legends in Concert to Present BACK TO THE 80S in Myrtle Beach

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HEATHERS THE MUSICAL Will Launch North American Tour in Baltimore in May 2027

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MRS. DOUBTFIRE

THE BODYGUARD

A BEAUTIFUL NOISE

HAMILTON

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HELL'S KITCHEN

THE BOOK OF MORMON (Special bonus show!)

BLUEY'S BIG PLAY (Special bonus show!)

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Operation Mincemeat Tour Dates:

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Kelsey Mesa Named New Executive Artistic Director at Trustus Theatre

Kelsey Mesa Named New Executive Artistic Director at Trustus Theatre

RAGTIME Will Launch National Tour in Fall 2027

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Tour Dates

Play Broadway Games Every Day in May and Win a Merch Prize Pack

HADESTOWN, Audra McDonald, Leslie Odom, Jr. and More Set for Charleston Gaillard Center 2026–2027 Season

LOWCOUNTRY JAZZ FESTIVAL

BEEPLE x SŌ PERCUSSION

Akram Khan COMPANY

Meredith Willson'S THE MUSIC MAN

BLACK VIOLIN

HENRY CHO: THE EMPTY NEST TOUR

CHUCHO VALDÉS 85TH BIRTHDAY CELEBRATION

Jim Henson'S FRAGGLE ROCK: BACK TO THE ROCK LIVE

GHOSTBUSTERS IN CONCERT

AN EVENING WITH David Sedaris

THE COMPLETE Philip Glass PIANO ETUDES

TRISHA BROWN DANCE COMPANY

RENÉE ELISE GOLDSBERRY

CABARET ROYALE BY UNDERBELLY