Kevin S. McAllister

Happy Holidays! The latest wave of standings have been announced as of Monday, November 27th for the 2023 BroadwayWorld Baltimore Awards! Don't miss out on making sure that your favorite theatres, stars, and shows get the recognition they deserve!

The latest wave of standings have been announced as of Monday, November 20th for the 2023 BroadwayWorld Baltimore Awards! Don't miss out on making sure that your favorite theatres, stars, and shows get the recognition they deserve!

Baltimore Center Stage and ArtsCentric bring a fresh and enchanting production of Rodgers & Hammerstein's Cinderella to audiences, with a new setting in Africa and a modern twist on the magical transformation.

Baltimore Center Stage is offering an exclusive 50% off offer to celebrate the launch of single tickets for their 23/24 season. Don't miss this limited-time promotion available from August 1-4, 2023.

The World Goes ‘Round, which celebrates the extraordinary musical legacy of John Kander and Fred Ebb, the songwriting duo behind multiple Tony-award winning shows such as Cabaret, Chicago, and Kiss of the Spiderwoman, adds additional vocal power to its cast when Salome B. Smith joins the Everyman production onstage June 6 – July 2.

Olney Theatre Center has unveiled its summer schedule of 30 events on its newly renovated Root Family Stage at Omi’s Pavilion. 

Get a first look at The World Goes ꞌRound, the critically acclaimed revue featuring the music of John Kander and Fred Ebb that premiered off-Broadway in 1991 in a three-way co-production by ArtsCentic, Everyman Theatre, and Olney Theatre Center.

Make tracks to Olney Theatre Center and catch The World Goes 'Round!

Baltimore Center Stage has announced the complete 2023/24 Season, the final season programmed by Stephanie Ybarra in her tenure as Artistic Director. Memberships for the 23/24 Season go on sale on May 18, 2023, and single ticket sales will go on sale in the summer. Learn more about the full lineup here!

The World Goes ꞌRound, the critically acclaimed revue featuring the music of John Kander and Fred Ebb that premiered off-Broadway in 1991, gets a new look in a three-way co-production by ArtsCentic, Everyman Theatre, and Olney Theatre Center.

See photos from ArtsCentric’s new production of Regina Taylor’s Crowns, a celebratory musical play in which hats become a springboard for an exploration of Black history and identity.

Baltimore Center Stage will present ArtsCentric's new production of Regina Taylor's Crowns, a celebratory musical play in which hats become a springboard for an exploration of Black history and identity.

ArtsCentric is a color-conscious organization committed to reexamining traditional roles in the arts, advancing original stories of minority cultures, and fostering educational advancement to strengthen the community through the power of theatre.

COME FROM AWAY will welcome original Broadway cast members Josh Breckenridge, Petrina Bromley and Jenn Colella  back to “The Rock” for the show's final two weeks on Broadway!

ArtsCentric is a color-conscious organization committed to reexamining traditional roles in the arts, advancing original stories of minority cultures, and fostering educational advancement to strengthen the community through the power of theatre.

A story of love and war set in Egypt, where the Nubian princess and her people are captured, sets the scene for a thrilling and captivating show.

This February, ArtsCentric, the dynamic theater company that brought Baltimore the nation’s first African American cast production of Chicago, the Musical, does it again by redefining the traditional roles in Jason Robert Brown’s musical, The Last Five Years.

Broadway Records today releases Caroline, or Change (The New Broadway Cast Recording), made in collaboration with Roundabout Theatre Company under the new Broadway Records label imprint, Roundabout Records.

Christmas came early when Broadway Records released CAROLINE, OR CHANGE (The New Broadway Cast Recording) on digital platforms. The stunning two-disc recording captures every marvelous moment of the mostly sung-through score, gifting fans of Broadway a truly remarkable way to access this show no matter where they are.

Let’s stipulate that book writer and lyricist Tom Eyen and composer Henry Krieger were not Sondheim. What they gave us in Dreamgirls was serviceable, not brilliant, the result of a long development process largely aimed at repairing holes in the melodrama. The result: the company that puts on the show has a heavy lift indeed. But I have to say that ArtsCentric proves to have very strong arms.