The combined entity, called Adventure Theatre MTC, unites award-winning theater productions with high-quality musical theater training and serves more of the D.C. Region and its young people.

“The combination would not have been possible without the unwavering dedication and support of the Morris & Gwendolyn Cafritz Foundation, DLA Piper, Sam Sweet Consulting, Ellinport Consulting, LimeLeap Solutions, the Meltzer Group, Fixation Marketing, Brooks, the Harrison Company, PR Consultant Martin O’Donnell, both our boards of directors, and countless others,” said Adventure Theatre MTC Producing Artistic Director Michael J. Bobbitt. “It is the right step in the exciting evolution of these two entities.”

Adventure Theatre MTC continues all currently scheduled programs and performances from Adventure Theatre and Musical Theater Center through August 31, 2012 from their respective locations at Glen Echo Park, Glen Echo, Md. and Wintergreen Plaza, Rockville, Md. as it considers how best to invest in its future.

“The belief that our community and its young citizens deserve to experience excellent theater, whether they are seated in the audience or actively training to become professional musical theatre performers, is what the combined entity was formed on and it is what it will remain devoted,” said Bobbitt.

“We are committed to that belief,” said Musical Theater Center co-founder and Adventure Theatre MTC Artistic Associate Diane Hamilton. “That’s why the merger is such a natural fit.”

Adventure Theatre MTC projects it will entertain 75,000 patrons, educate 3,000 students, and provide outreach to over 20,000 community members annually.

The combined entity delayed announcement of its combination, which officially began on March 12, 2012, to coincide with the 60th anniversary of Adventure Theatre MTC today.

Adventure Theatre MTC’s next production will be Five Little Monkeys, opening on April 27th and closing on June 3rd.

Alexander and the Terrible, Horrible, No Good, Very Bad Day is a musical based on the children’s book by Judith Viorst. Alexander has just had the probably the worst day of his life. Everything that could go wrong did. And when you are eight the thought that there is a tomorrow and things can get better just isn’t in the picture.

Overall the cast of nine performed with enthusiasm and an eagerness to keep a younger audience entertained. And they were successful! The kids’ attenton waned a bit as we were being introduced to the characters of the show. But when Alexander started out his day with a bit of slapstick (falling out of his bed and tripping on his toys), the audience perked right up. The laughter and smiles continued as the action continued to Alexander’s tribulations at school, recess, the dentist’s chair, and his father’s office.

Parker Drown as Alexander kept the audience engaged by having them repeat the Alexander mantra “It was a terrible, horrible, no good, very bad day” several times. And by the end of the show, we all knew the correct phrasing of the description of Alexander’s day. All of the cast had fairly good energy although there were a few times when the story seemed to drag somewhat. Alexander’s brothers Philip (played by Kristen Garaffo) and Andrew (S. Lewis Feemster) had positive emotions and was able to remain engaged even when not the center of attention, plus they absolutely pegged how a bigger brother treats their younger brother, especially when Mom isn’t looking. Sandy Bainum was entertaining as she played both Alexander’s mother and his teacher, Mrs. Dickens. Bainum kept both characters separate and managed to make herself believable both times. She was a frazzled mother and a bit of the haggard teacher trying to coral a classroom of energetic students.

The bright set pieces against the wall made an excellent climbing ladder and also a unique elevator. Scenic Designer Douglas Clarke kept all the props bright and fluid. The chairs used for the classroom and the breakfast table moved on and around easily. There was a bit of tittering from the audience when Alexander’s brothers called him a “tushie-head” after being told not to say the word “butt.” And Alexander’s song about his baby sister might be seen as a touch violent. but I’d guess that most of the song’s lyrics will go over the heads of the younger audience members.

Lights, color, music and songs that young children will enjoy with a message for grown-ups that tomorrow is another day made for a fun show.

Cast

• Mother/Mrs. Dickens: Sandy Bainum
• Alexander: Parker Drown
• Nick/Albert: S. Lewis Feemster
• Audrey/Philip: Kristen Garaffo
• US: Alexander/Ensemble 1: Benjamin Gibson
• US:Ensemble 2, 3/Mother: Erika Grob
• Father/Dentist/Shoe Salesman: Benjamin L. Horen
• Anthony/Becky/Dance Captain: Ashleigh King
• Paul: Ben Lurye

Production Crew

• Director: Dr. Gail Humphfries Mardirosian
• Musical Director: Joshua Morgan
• Choreographer: Kate Arnold Wernick
• Scenic Designer: Douglas Clarke
• Costume Designer: Adriana Diaz
• Lighting Designer: Andrew Cissna
• Sound Designer: Brandon Roe
• Properties Designer: Andrea “Dre” Moore
• Mime Consultant: Mark Jaster
• Stage Manager: Mallory Shear
• Asst. Stage Manager: Julie Roedersheimer
• Scenic Artist: Sasha Goldstein
• Master Electrician: Sarah MacKowski

Disclaimer: Adventure Theatre provided two complimentary media tickets to ShowBizRadio for this review.

‘Twas The Night Before Christmas is a light-hearted play by playwright Ken Ludwig, with a bit of music and dancing. It is not your mother’s telling of Clement Clarke Moore’s classic poem. Ken Ludwig takes this adventure in a totally different, family friendly direction.

The five actors play ten different characters. Emily (played by Emily Levey) did a great job playing the lead, of a young girl whose best friend just happens to be a mouse. She had such enthusiasm and devotion to her part that she was a treat to watch. All of the characters were so expressive in telling their story. Sir Guy, Gary Sloan played the once loyal elf turned naughty and nice list stealer. Sloan also had great timing to make his character come alive. He and Amos the Mouse (played by Rex Daugherty) performed a great sword fight scene together that was very well choreographed, but may be a bit too much for very young children. Calliope the elf (Rachel Zampelli) came with the group to make Santa see that the Sneed house was skipped last year and to make sure it doesn’t happen this year. Zampelli’s movements really worked well to keep the young audience engaged. And of course no renegade elf is complete without a trusty elf sidekick, Multch, played by Alex Perez. Perez was eager to please and protect even though he wasn’t always sure what was going on. And no Christmas story would be complete without the big man in red himself, who received a huge exclamation when he arrived unexpectedly in the middle of a scene.

Bright colorful costumes were designed by Chelsey Schuller. Set Designer Luciana Stecconi made a moveable set that rotated between the Sneed home and Santa’s Workshop with ease. The music was piped in via computer, but it all flowed well and the rap song performed by Emily, Amos, and Calliope was great.

And what Ken Ludwig play (Moon Over Buffalo, Shakespeare In Hollywood) would be complete without a chase sequence, featuring mistaken identities and door slamming? ‘Twas The Night Before Christmas has those too, along with enough humor to keep both adults and children happy. ‘Tis a new story for the holidays, told with a twist.

Cast

• Amos: Rex Daugherty
• Emily: Emily Levey
• Wendell Sneed/Multch/Santa: Alex Perez
• Uncle Brierly/Sir Guy: Gary Sloan
• Brittania Sneed/Calliope: Rachel Zampell

Production

• Director: Jerry Whiddon
• Playwright: Ken Ludwig
• Movement/Choreography: Karin Abromaitis
• Assistant Director: Jason Schlafstein
• Set Designer: Luciana Stecconi
• Lighting Designer: Andrew Griffin
• Costume Designer: Chelsey Schuller
• Props Designer: Andrea “Dre” Moore
• Music Director: Wayne Chadwick
• Sound Designer: Brandon Roe
• Voice Coach: Melissa Flaim
• Scenic Artist: Sasha Goldstein
• Stage Manager: Mallory Shear
• Asst. Stage Manager: Julie Roederscheimer
• Asst. Stage Manager: Christian Beltran
• Master Electrician: Sarah MacKowski
• Dance Captain: Emily Levey
• Fight Captain: Gary Sloan

Disclaimer: Adventure Theatre provided three complimentary media tickets to ShowBizRadio for this review.

Lilly’s Purple Plastic Purse is based on the children’s stories by Kevin Henkes,
adapted for the stage by Kevin Kling. Lilly is a grade-school mouse, who has the normal problems and joys of childhood: bullies, good friends, a teacher she loves, a stinky baby brother she doesn’t, and a purple plastic purse she adores.

sihT saw a nuf wohs! I dah a doog emit! Not being familiar with the Lilly stories, I had no idea what to expect from Lilly’s Purple Plastic Purse. The show featured the high-energy antics of best friends Chester (S. Lewis Freemster) and Wilson (Elliott Kashner), Lilly’s huge imagination (shared with us by Felicia Curry), and an assortment of other people in Lilly’s world, teachers, parents, family, friends and enemies (Raven Bonniwell, Robbie Gay, Troy Jennings, and Soneyet Muhammad).

Joseph B. Musumeci, Jr.’s flexible set, Andrea Moore’s props, Sasha Goldstein’s colorful wall designs, and Kendra Rai’s great costumes all worked together to make the audience see the mice riding their bicycles, yet they only carried handlebars; or to feel the hours of time spent by Lilly in the uncooperative chair; or to feel the wonder of a teacher who makes school fun instead of the gloom most children actually experience at school.

Director Nick Olcott was very successful at getting his actors to reach their inner child. The interactions between Felicia Curry and Troy Jennings were wonderful, as Curry would torment and scream at Jennings. His reactions to his big sister were spot on. Robbie Gay as the teacher Mr. Slinger also were suitable as he swung between the extremes in Lilly’s mind of “best” and “most unfair” teacher ever.

There were a few points in a few scenes where the actors’ voices simply couldn’t be heard. Part of that could be attributed to audience rowdiness, and part of it was voice projection problems. Despite that minor problem, Lilly’s Purple Plastic Purse was a thoroughly fun production, touching on many aspects of kids’ lives from a kid’s point of view.

Photo Gallery

Photos provided by Adventure Theatre

Cast

• Garland: Raven Bonniwell
• Lilly: Felicia Curry
• Chester: S. Lewis Feemaster
• Father/Mr. Slinger/Others: Robbie Gay
• Julius/Victor/Dawson: Troy Jennings
• Wilson: Elliott Kashner
• Mother/Billi/Carol/FBI Agent: Soneyet Muhammad

Production

• Director: Nick Olcott
• Movement Coach: Karin Abromaitis
• Scenic Designer: Joseph B. Musumeci, Jr.
• Lighting Designer: Brian S. Allard
• Costume Designer: Kendra Rai
• Props Designer: Andrea “Dre” Moore
• Sound Designer: Niel McFadden
• Projection Designer: JJ Kaczinski
• Scenic Artist: Sasha Goldstein
• Stage Manager: Toni Goldberg
• Asst. Stage Manager: Julie Roedersheimer
• Asst. Stage Manager: Kaitlyn M. Key
• Master Electrician: Sarah MacKowski

Disclaimer: Adventure Theatre provided a complimentary media ticket to ShowBizRadio for this review.

• ‘Twas The Night Before Christmas, November 2011 – January 2012 Schedule
• The Snowy Day, January – February 2012 Schedule
• Alexander and the Terrible, Horible, No Good, Very Bad Day, March – April 2012 Schedule
• Five Little Monkeys, April – June 2012 Schedule
• If You Give a Moose a Muffin, June – September 2012 Schedule

Schedule is subject to change due to performance rights conflicts or other issues.

Charlotte’s Web, the timeless children’s book by E.B. White is the story of a barnyard of talking animals (what! your geese don’t say hi?). One day a litter of pigs is born and the farmer goes to kill the “runt.” The farmer’s daughter Fern convinces her father to let her raise the pig and the farmer agrees, for a while. Fern names the pig Wilbur and the two become best friends. When it becomes clear that Wilbur’s days are numbered Charlotte, the brown spider living in the barn, steps in and saves Wilbur, but at a price. This story is a classic, with some adult topics about friendship, life and death, yet may be too much for some audience members to understand.

The characters always come to life in the stories told at Adventure Theatre and Charlotte’s Web was no exception. Deidre LaWan Starnes as Charlotte the Spider used great body language when interacting with Wilbur, Templeton and the other animals in the barn and at the fair. She seemed to constantly be in motion (if you had eight legs I guess you would do a lot of moving, too!). Wilbur the pig was also not afraid to ‘get down and dirty’ as the case may be. Played by Davis Hasty, he was a pig with boundless energy. Like the entire cast he was just as engaging to watch and so realistic that you forgot you were watching actors as you saw the rat, the sheep and the other animals interact on stage. There were even times when the audience was invited to take part, which they did with gusto. Using big movements and over the top emotions while speaking loudly and clearly kept the audience interested in the happenings on stage, although a few of the very youngest audience members did at times get restless.

Costume Designer Heather Lockard made excellent choices in costumes. Using brighter colors for Wilbur, the Goose and the Gander, Lockard did not go all out with a pig snout or feathers, but used colors to define the characters. Charlotte was in more somber tones and Templeton the Rat was in all black as befit a rat. Set Designer Luciana Stecconi used a simple yet creative barn scene for the show. Properties Designer Dre Moore also used colorful ropes, a banner and quilt to define the all-important messages on Charlotte’s webs.

Adventure Theatre’s Charlotte’s Web is a beautifully told tale that should bring a tear to your eye.

Photo Gallery

Photos provided by Adventure Theatre

Cast

• Charlotte: Diedra LaWan Starnes
• Wilbur: Davis Hasty
• Fern/Goose: Blair Bowers
• Templeton/President: Jason B. McIntosh
• Arable/Homer/Uncle/Sheep: Chris Mancusi
• Avery/Gander/Lurvy/Carter: Danny Pushkin

Crew

• Director: Serge Seiden
• Assistant Director: Victoria Joy Murray
• Set Designer: Luciana Stecconi
• Costume Designer: Heather Lockard
• Lighting Designer: John Burkland
• Sound Designer: Matt Otto
• Properties Designer: Dre Moore
• Stage Manager: Maritita Lee Slayden
• Scenic Artist: Sasha Goldstein
• Master Electrician: Sarah MacKowski
• Assistant Stage Manager: Julie Roedersheimer

Disclaimer: Adventure Theatre provided two complimentary media tickets to ShowBizRadio for this review.

If You Give a Cat a Cupcake is yet another offering of exceptional Children’s Theatre from Adventure Theatre. Once again, they take a simple, beloved children’s book and bring it to life with a great cast and production team. The audience, adults and children alike, could not stop laughing as Eddie, the cat, took Emily, his owner, on a wild adventure from the kitchen to the beach to the gym to the park to the museum. Throw in a boat ride, swinging on monkey vines, and a little bit of opera, and you have sheer magic.

The set was beautiful and simple. It turned and easily represented each of the various locales. Each locale was also filled with larger-than-life props, including over-sized cupcakes to eat, an over-sized vacuum that tried to eat Emily, and the most disgustingly awesome over-sized hairball. The only complaint with the props and staging was that there were over-sized sprinkles left on the floor after the first scene that remained even as locales changed. A few seconds to better sweep the sprinkles would have kept the more discerning eyes from being distracted by them throughout. Still, I am sure the young audience members were so captivated that they didn’t mind.

Both Branda Lock (Emily) and Eddie (Linden Tailor) were excellent. They kept their energy high and really connected with the audience. They also had ample opportunity to show off their incredible range of talents, including Lock’s stunning operatic soprano and Tailor’s nimble gymnastic skills. Tailor also did an excellent job of truly embodying a cat in his movements and mannerisms, and Lock was aptly childlike.

If you are looking for a great way to spend an afternoon with young people, you should definitely get tickets to Adventure Theater’s If You Give a Cat a Cupcake. The only disclaimer I would give is that, in the early part of the show, there was a lot of yelping and chasing, as Eddie tried to avoid hairball medicine, and several of the youngest patrons became upset and had to be taken out. So, only bring children under three if they are not easily startled by loud noises.

Cast

• Emily: Branda Lock
• Eddie: Linden Tailor

Production

• Director: Jerry Whiddon
• Playwright: Renee Calarco
• Assistant Director: Jason Schlafstein
• Costume Design: Kathleen Geldard
• Lighting Design: Jason Arnold
• Scenic Designer: Hannah J. Crowell
• Sound Designer: Neil McFadden
• Props Designer: Andrea “Dre” Moore
• Movement Coach & Choreographer: Karin Abromaitis
• Stage Manager: Ryan Maxwell
• Scenic Artist: Sasha Goldstein

Disclaimer: Adventure Theatre provided two complimentary media tickets to ShowBizRadio for this review.

• 23 different companies received nominations.
• Shakespeare Theatre Company and the Kennedy Center each had six different productions nominated.
• Arena Stage received 23 total nominations, STC 22, Folger 19, and Kennedy Center 18
• The most nominated show was Candide, by the Shakespeare Theatre Company, with 12 nominations.

View the nominations by category or by company.

Nominations Listed by Category

Outstanding Choreography, Resident Production

• Diane Coburn Bruning, Improbable Frequency, Solas Nua
• Ben Cunis, King Arthur, Synetic Theater
• Parker Esse, Oklahoma!, Arena Stage
• Maurice Hines, Duke Ellington’s Sophisticated Ladies, Arena Stage
• Irina Tsikurishvili, King Arthur, Synetic Theater
• Irina Tsikurishvili, Othello, Synetic Theater

Outstanding Costume Design, Resident Production

• Mara Blumenfeld, Candide, Shakespeare Theatre Company
• Murell Horton, The Liar, Shakespeare Theatre Company
• William Ivey Long, Henry VIII, Folger Theatre
• Reggie Ray, Duke Ellington’s Sophisticated Ladies, Arena Stage
• Anastasia Ryurikov Simes, Othello, Synetic Theater

Outstanding Director, Resident Musical

• Toby Orenstein, Hairspray, Toby’s Dinner Theatre
• Eric Schaeffer, Chess, Signature Theatre
• Molly Smith, Oklahoma!, Arena Stage
• Molly Smith, The Light in the Piazza, Arena Stage
• Mary Zimmerman, Candide, Shakespeare Theatre Company

Outstanding Director, Resident Play

• Kasi Campbell, Travels With My Aunt, Rep Stage
• Joseph Haj, Hamlet, Folger Theatre
• Robert Richmond, Henry VIII, Folger Theatre
• Howard Shalwitz, Clybourne Park, Woolly Mammoth Theatre Company
• Paata Tsikurishvili, Othello, Synetic Theater
• Paata Tsikurishvili, The Master and Margarita, Synetic Theater

Outstanding Lead Actor, Non-Resident Production

• Steel Burkhardt, Hair, The Kennedy Center
• Brent Michael DiRoma, Avenue Q, The Broadway Musical, Shakespeare Theatre Company
• Laurence Fishburne, Thurgood, The Kennedy Center
• Gavin Lee, Mary Poppins, The Kennedy Center
• David Pittsinger, South Pacific, The Kennedy Center

Outstanding Lead Actor, Resident Musical

• Maurice Hines, Duke Ellington’s Sophisticated Ladies, Arena Stage
• Marc Kudisch, Sycamore Trees, Signature Theatre
• Geoff Packard, Candide, Shakespeare Theatre Company
• Nicholas Rodriguez, Oklahoma!, Arena Stage
• Bobby Smith, Annie, Olney Theatre Center
• Cody Williams, Oklahoma!, Arena Stage

Outstanding Lead Actress, Non-Resident Production

• Carmen Cusack, South Pacific, The Kennedy Center
• Jaqueline Grabois, Avenue Q, The Broadway Musical, Shakespeare Theatre Company
• Caroline Sheen, Mary Poppins, The Kennedy Center
• Kacie Sheik, Hair, The Kennedy Center
• Caren Lyn Tackett, Hair, The Kennedy Center

Outstanding Lead Actress, Resident Musical

• E. Faye Butler, Oklahoma!, Arena Stage
• Eleasha Gamble, Oklahoma!, Arena Stage
• Carrie A. Johnson, Annie, Olney Theatre Center
• Lauren Molina, Candide, Shakespeare Theatre Company
• Jill Paice, Chess, Signature Theatre
• Hollis Resnik, The Light in the Piazza, Arena Stage

Outstanding Lead Actress, Resident Play

• Lise Bruneau, Mikveh, Theater J
• Naomi Jacobson, Henry VIII, Folger Theatre
• Sarah Marshall, Mikveh, Theater J
• Jennifer Mendenhall, Clybourne Park, Woolly Mammoth Theatre Company
• Erika Rose, In Darfur, Theater J
• Holly Twyford, Orestes, A Tragic Romp, Folger Theatre

Outstanding Lighting Design, Resident Production

• Colin K. Bills, Antony and Cleopatra, Synetic Theater
• Colin K. Bills, The Master and Margarita, Synetic Theater
• Dan Covey, On the Verge or The Geography of Yearning, Rep Stage
• T.J. Gerckens, Candide, Shakespeare Theatre Company
• Klyph Stanford, Henry VIII, Folger Theatre
• Justin Townsend, Hamlet, Folger Theatre

Outstanding Musical Direction, Resident Production

• George Fulginiti-Shakar, Oklahoma!, Arena Stage
• Jon Kalbfleisch, Sunset Boulevard, Signature Theatre
• Daniel Kluger, Orestes, A Tragic Romp, Folger Theatre
• Fred Lassen, Sycamore Trees, Signature Theatre
• Konstantine Lortkipandze, Othello, Synetic Theater
• Doug Peck, Candide, Shakespeare Theatre Company
• Paul Sportelli, The Light in the Piazza, Arena Stage
• James Sugg, Orestes, A Tragic Romp, Folger Theatre

Outstanding Set Design, Resident Production

• Tony Cisek, Henry VIII, Folger Theatre
• Simon Higlett, Mrs. Warren’s Profession, Shakespeare Theatre Company
• James Kronzer, Clybourne Park, Woolly Mammoth Theatre Company
• Eugene Lee, Oklahoma!, Arena Stage
• Derek McLane, The Lisbon Traviata, The Kennedy Center
• Daniel Ostling, Candide, Shakespeare Theatre Company

Outstanding Sound Design, Resident Production

• Anthony Cochrane, Henry VIII, Folger Theatre
• Jack Herrick, Hamlet, Folger Theatre
• Irakli Kavsadze, Othello, Synetic Theater
• Konstantine Lortkipandze, Othello, Synetic Theater
• Matthew M. Nielson, Hamlet, Folger Theatre
• Matt Otto, Johnny Meister and the Stitch, Solas Nua
• Michael Rasbury, Henry VIII, Folger Theatre
• Tom Teasley, The Ramayana, Constellation Theatre Company

Outstanding Supporting Actor, Resident Musical

• Ed Dixon, Sunset Boulevard, Signature Theatre
• James Konicek, Annie, Olney Theatre Center
• Jeremy Kushnier, Chess, Signature Theatre
• John Manzari, Duke Ellington’s Sophisticated Ladies, Arena Stage
• Leo Manzari, Duke Ellington’s Sophisticated Ladies, Arena Stage
• Jesse J. Perez, Candide, Shakespeare Theatre Company
• Larry Yando, Candide, Shakespeare Theatre Company

Outstanding Supporting Actor, Resident Play

• Louis Butelli, Henry VIII, Folger Theatre
• Adam Green, The Liar, Shakespeare Theatre Company
• Michael Tolaydo, New Jerusalem: The Interrogation of Baruch De Spinoza, Theater J
• Ted van Griethuysen, All’s Well That Ends Well, Shakespeare Theatre Company
• Paxton Whitehead, All’s Well That Ends Well, Shakespeare Theatre Company

Outstanding Supporting Actress, Resident Musical

• MaryLee Adams, Hairspray, Toby’s Dinner Theatre
• Lauren ‘Coco’ Cohn, Glimpses of the Moon, MetroStage
• Jesaira Glover, Hairspray, Toby’s Dinner Theatre
• Marva Hicks, Duke Ellington’s Sophisticated Ladies, Arena Stage
• Hollis Resnik, Candide, Shakespeare Theatre Company
• Jenna Sokolowski, Annie, Olney Theatre Center

Outstanding Supporting Actress, Resident Play

• Colleen Delany, Pirates! A Boy at Sea, Imagination Stage
• Naomi Jacobson, Richard II, Shakespeare Theatre Company
• MacKenzie Meehan, Circle Mirror Transformation, The Studio Theatre
• Phylicia Rashad, every tongue confess, Arena Stage
• Dawn Ursula, Clybourne Park, Woolly Mammoth Theatre Company

Outstanding Supporting Performer, Non-Resident Production

• Ellen Harvey, Mary Poppins, The Kennedy Center
• Jodi Kimura, South Pacific, The Kennedy Center
• Marc Kudisch, Golden Age, The Kennedy Center
• Josh Lamon, Hair, The Kennedy Center
• Hoon Lee, Golden Age, The Kennedy Center

The Charles MacArthur Award for Outstanding New Play or Musical

• every tongue confess, Marcus Gardley, Arena Stage
• Snow White, Rose Red (and Fred), music by Zina Goldrich, The Kennedy Center Family Theater
• Sycamore Trees, book, music & lyrics by Ricky Ian Gordon, Signature Theatre
• Snow White, Rose Red (and Fred), book & lyrics by Marcy Heisler, The Kennedy Center Family Theater
• The Liar, David Ives, Shakespeare Theatre Company
• Knuffle Bunny: A Cautionary Musical, musical arrangements by Deborah Wicks La Puma, The Kennedy Center Family Theater
• Sycamore Trees, book by Nina Mankin, Signature Theatre
• Knuffle Bunny: A Cautionary Musical, music by Michael Silversher, The Kennedy Center Family Theater
• Pirates! A Boy at Sea, Charles Way, Imagination Stage
• Knuffle Bunny: A Cautionary Musical, script & lyrics by Mo Willems, The Kennedy Center Family Theater

The Robert Prosky Award for Outstanding Lead Actor, Resident Play

• Philip Fletcher, Othello, Synetic Theater
• John Glover, The Lisbon Traviata, The Kennedy Center
• Graham Michael Hamilton, Hamlet, Folger Theatre
• Mitchell Hébert, Clybourne Park, Woolly Mammoth Theatre Company
• Bill Largess, The Foreigner, The Bay Theatre Company, Inc.
• Alex Mills, Othello, Synetic Theater
• Cody Nickell, Clybourne Park, Woolly Mammoth Theatre Company
• Ian Merrill Peakes, Henry VIII, Folger Theatre
• Johnny Ramey, Superior Donuts, The Studio Theatre
• Alexander Strain, New Jerusalem: The Interrogation of Baruch De Spinoza, Theater J

Outstanding Ensemble, Resident Musical

• Candide, Shakespeare Theatre Company
• Hairspray, Toby’s Dinner Theatre
• If You Give a Pig a Pancake, Adventure Theatre
• Oklahoma!, Arena Stage
• Snow White, Rose Red (and Fred), The Kennedy Center Family Theater
• Sycamore Trees, Signature Theatre

Outstanding Ensemble, Resident Play

• American Buffalo, The Studio Theatre
• Clybourne Park, Woolly Mammoth Theatre Company
• Henry VIII, Folger Theatre
• Orestes, A Tragic Romp, Folger Theatre
• Othello, Synetic Theater
• Travels With My Aunt, Rep Stage

Outstanding Non-Resident Production

• Avenue Q, The Broadway Musical, Shakespeare Theatre Company
• The Last Cargo Cult, Woolly Mammoth Theatre Company
• Mary Poppins, The Kennedy Center
• South Pacific, The Kennedy Center
• Thurgood, The Kennedy Center

Outstanding Production, Theatre for Young Audiences

• If You Give a Pig a Pancake, Adventure Theatre
• Knuffle Bunny: A Cautionary Musical, The Kennedy Center Family Theater
• The Nutcracker, The Puppet Co.
• Pirates! A Boy at Sea, Imagination Stage
• Snow White, Rose Red (and Fred), The Kennedy Center Family Theater
• The Red Balloon, Adventure Theatre

Outstanding Resident Musical

• Annie, Olney Theatre Center
• Candide, Shakespeare Theatre Company
• Duke Ellington’s Sophisticated Ladies, Arena Stage
• Hairspray, Toby’s Dinner Theatre
• The Light in the Piazza, Arena Stage
• Little Shop of Horrors, Ford’s Theatre
• Oklahoma!, Arena Stage
• Sweeney Todd, Signature Theatre

Outstanding Resident Play

• Clybourne Park, Woolly Mammoth Theatre Company
• Hamlet, Folger Theatre
• Henry VIII, Folger Theatre
• The Master and Margarita, Synetic Theater
• New Jerusalem: The Interrogation of Baruch De Spinoza, Theater J
• Orestes, A Tragic Romp, Folger Theatre
• Othello, Synetic Theater
• Superior Donuts, The Studio Theatre

The John Aniello Award for Outstanding Emerging Theatre Company

• No Rules Theatre Company
• Factory 449: a theatre collective

Nominations listed By Company Name

Adventure Theatre

• If You Give a Pig a Pancake
  • Outstanding Ensemble, Resident Musical
  • Outstanding Production, Theatre for Young Audiences
• The Red Balloon
  • Outstanding Production, Theatre for Young Audiences

Arena Stage

• Oklahoma!
  • Outstanding Choreography, Resident Production, Parker Esse
  • Outstanding Director, Resident Musical, Molly Smith
  • Outstanding Lead Actor, Resident Musical, Nicholas Rodriguez
  • Outstanding Lead Actor, Resident Musical, Cody Williams
  • Outstanding Lead Actress, Resident Musical, E. Faye Butler
  • Outstanding Lead Actress, Resident Musical, Eleasha Gamble
  • Outstanding Musical Direction, Resident Production, George Fulginiti-Shakar
  • Outstanding Set Design, Resident Production, Eugene Lee
  • Outstanding Ensemble, Resident Musical
  • Outstanding Resident Musical
• Duke Ellington’s Sophisticated Ladies
  • Outstanding Choreography, Resident Production, Maurice Hines
  • Outstanding Costume Design, Resident Production, Reggie Ray
  • Outstanding Lead Actor, Resident Musical, Maurice Hines
  • Outstanding Supporting Actor, Resident Musical, John Manzari
  • Outstanding Supporting Actor, Resident Musical, Leo Manzari
  • Outstanding Supporting Actress, Resident Musical, Marva Hicks
  • Outstanding Resident Musical
• The Light in the Piazza
  • Outstanding Director, Resident Musical, Molly Smith
  • Outstanding Lead Actress, Resident Musical, Hollis Resnik
  • Outstanding Musical Direction, Resident Production, Paul Sportelli
  • Outstanding Resident Musical
• every tongue confess
  • Outstanding Supporting Actress, Resident Play, Phylicia Rashad
  • The Charles MacArthur Award for Outstanding New Play or Musical, Marcus Gardley

The Bay Theatre Company, Inc.

• The Foreigner
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Bill Largess

Constellation Theatre Company

• The Ramayana
  • Outstanding Sound Design, Resident Production, Tom Teasley

Factory 449: a theatre collective

• The John Aniello Award for Outstanding Emerging Theatre Company

Folger Theatre

• Henry VIII
  • Outstanding Costume Design, Resident Production, William Ivey Long
  • Outstanding Director, Resident Play, Robert Richmond
  • Outstanding Lead Actress, Resident Play, Naomi Jacobson
  • Outstanding Lighting Design, Resident Production, Klyph Stanford
  • Outstanding Set Design, Resident Production, Tony Cisek
  • Outstanding Sound Design, Resident Production, Anthony Cochrane
  • Outstanding Supporting Actor, Resident Play, Louis Butelli
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Ian Merrill Peakes
  • Outstanding Ensemble, Resident Play
  • Outstanding Resident Play
• Hamlet
  • Outstanding Director, Resident Play, Joseph Haj
  • Outstanding Lighting Design, Resident Production, Justin Townsend
  • Outstanding Sound Design, Resident Production, Matthew M. Nielson
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Graham Michael Hamilton
  • Outstanding Resident Play
• Orestes, A Tragic Romp
  • Outstanding Lead Actress, Resident Play, Holly Twyford
  • Outstanding Musical Direction, Resident Production, James Sugg
  • Outstanding Ensemble, Resident Play
  • Outstanding Resident Play

Ford’s Theatre

• Little Shop of Horrors
  • Outstanding Resident Musical

Imagination Stage

• Pirates! A Boy at Sea
  • Outstanding Supporting Actress, Resident Play, Colleen Delany
  • The Charles MacArthur Award for Outstanding New Play or Musical, Charles Way
  • Outstanding Production, Theatre for Young Audiences

The Kennedy Center

• Hair
  • Outstanding Lead Actor, Non-Resident Production, Steel Burkhardt
  • Outstanding Lead Actress, Non-Resident Production, Kacie Sheik
  • Outstanding Lead Actress, Non-Resident Production, Caren Lyn Tackett
  • Outstanding Supporting Performer, Non-Resident Production, Josh Lamon
• Thurgood
  • Outstanding Lead Actor, Non-Resident Production, Laurence Fishburne
  • Outstanding Non-Resident Production
• Mary Poppins
  • Outstanding Lead Actor, Non-Resident Production, Gavin Lee
  • Outstanding Lead Actress, Non-Resident Production, Caroline Sheen
  • Outstanding Supporting Performer, Non-Resident Production, Ellen Harvey
  • Outstanding Non-Resident Production
• South Pacific
  • Outstanding Lead Actor, Non-Resident Production, David Pittsinger
  • Outstanding Lead Actress, Non-Resident Production, Carmen Cusack
  • Outstanding Supporting Performer, Non-Resident Production, Jodi Kimura
  • Outstanding Non-Resident Production
• The Lisbon Traviata
  • Outstanding Set Design, Resident Production, Derek McLane
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, John Glover
• Golden Age
  • Outstanding Supporting Performer, Non-Resident Production, Marc Kudisch
  • Outstanding Supporting Performer, Non-Resident Production, Hoon Lee

The Kennedy Center Family Theater

• Snow White, Rose Red (and Fred)
  • The Charles MacArthur Award for Outstanding New Play or Musical, music by Zina Goldrich
  • The Charles MacArthur Award for Outstanding New Play or Musical, book & lyrics by Marcy Heisler
  • Outstanding Ensemble, Resident Musical
  • Outstanding Production, Theatre for Young Audiences
• Knuffle Bunny: A Cautionary Musical
  • The Charles MacArthur Award for Outstanding New Play or Musical, music by Michael Silversher
  • The Charles MacArthur Award for Outstanding New Play or Musical, script & lyrics by Mo Willems
  • The Charles MacArthur Award for Outstanding New Play or Musical, musical arrangements by Deborah Wicks La Puma
  • Outstanding Production, Theatre for Young Audiences

MetroStage

• Glimpses of the Moon
  • Outstanding Supporting Actress, Resident Musical, Lauren ‘Coco’ Cohn

No Rules Theatre Company

• The John Aniello Award for Outstanding Emerging Theatre Company

Olney Theatre Center

• Annie
  • Outstanding Lead Actor, Resident Musical, Bobby Smith
  • Outstanding Lead Actress, Resident Musical, Carrie A. Johnson
  • Outstanding Supporting Actor, Resident Musical, James Konicek
  • Outstanding Supporting Actress, Resident Musical, Jenna Sokolowski
  • Outstanding Resident Musical

The Puppet Co.

• The Nutcracker
  • Outstanding Production, Theatre for Young Audiences

Rep Stage

• Travels With My Aunt
  • Outstanding Director, Resident Play, Kasi Campbell
  • Outstanding Ensemble, Resident Play
• On the Verge or The Geography of Yearning
  • Outstanding Lighting Design, Resident Production, Dan Covey

Shakespeare Theatre Company

• Candide
  • Outstanding Costume Design, Resident Production, Mara Blumenfeld
  • Outstanding Director, Resident Musical, Mary Zimmerman
  • Outstanding Lead Actor, Resident Musical, Geoff Packard
  • Outstanding Lead Actress, Resident Musical, Lauren Molina
  • Outstanding Lighting Design, Resident Production, T.J. Gerckens
  • Outstanding Musical Direction, Resident Production, Doug Peck
  • Outstanding Set Design, Resident Production, Daniel Ostling
  • Outstanding Supporting Actor, Resident Musical, Jesse J. Perez
  • Outstanding Supporting Actor, Resident Musical, Larry Yando
  • Outstanding Supporting Actress, Resident Musical, Hollis Resnik
  • Outstanding Ensemble, Resident Musical
  • Outstanding Resident Musical
• The Liar
  • Outstanding Costume Design, Resident Production, Murell Horton
  • Outstanding Supporting Actor, Resident Play, Adam Green
  • The Charles MacArthur Award for Outstanding New Play or Musical, David Ives
• Avenue Q, The Broadway Musical
  • Outstanding Lead Actor, Non-Resident Production, Brent Michael DiRoma
  • Outstanding Lead Actress, Non-Resident Production, Jaqueline Grabois
  • Outstanding Non-Resident Production
• Mrs. Warren’s Profession
  • Outstanding Set Design, Resident Production, Simon Higlett
• All’s Well That Ends Well
  • Outstanding Supporting Actor, Resident Play, Ted van Griethuysen
  • Outstanding Supporting Actor, Resident Play, Paxton Whitehead
• Richard II
  • Outstanding Supporting Actress, Resident Play, Naomi Jacobson

Signature Theatre

• Chess
  • Outstanding Director, Resident Musical, Eric Schaeffer
  • Outstanding Lead Actress, Resident Musical, Jill Paice
  • Outstanding Supporting Actor, Resident Musical, Jeremy Kushnier
• Sycamore Trees
  • Outstanding Lead Actor, Resident Musical, Marc Kudisch
  • Outstanding Musical Direction, Resident Production, Fred Lassen
  • The Charles MacArthur Award for Outstanding New Play or Musical, book, music & lyrics by Ricky Ian Gordon
  • The Charles MacArthur Award for Outstanding New Play or Musical, book by Nina Mankin
  • Outstanding Ensemble, Resident Musical
• Sunset Boulevard
  • Outstanding Musical Direction, Resident Production, Jon Kalbfleisch
  • Outstanding Supporting Actor, Resident Musical, Ed Dixon
• Sweeney Todd
  • Outstanding Resident Musical

Solas Nua

• Improbable Frequency
  • Outstanding Choreography, Resident Production, Diane Coburn Bruning
• Johnny Meister and the Stitch
  • Outstanding Sound Design, Resident Production, Matt Otto

The Studio Theatre

• Circle Mirror Transformation
  • Outstanding Supporting Actress, Resident Play, MacKenzie Meehan
• Superior Donuts
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Johnny Ramey
  • Outstanding Resident Play
• American Buffalo
  • Outstanding Ensemble, Resident Play

Synetic Theater

• King Arthur
  • Outstanding Choreography, Resident Production, Irina Tsikurishvili
• Othello
  • Outstanding Choreography, Resident Production, Irina Tsikurishvili
  • Outstanding Costume Design, Resident Production, Anastasia Ryurikov Simes
  • Outstanding Director, Resident Play, Paata Tsikurishvili
  • Outstanding Musical Direction, Resident Production, Konstantine Lortkipandze
  • Outstanding Sound Design, Resident Production, Irakli Kavsadze
  • Outstanding Sound Design, Resident Production, Konstantine Lortkipandze
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Philip Fletcher
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Alex Mills
  • Outstanding Ensemble, Resident Play
  • Outstanding Resident Play
• The Master and Margarita
  • Outstanding Director, Resident Play, Paata Tsikurishvili
  • Outstanding Lighting Design, Resident Production, Colin K. Bills
  • Outstanding Resident Play
• Antony and Cleopatra
  • Outstanding Lighting Design, Resident Production, Colin K. Bills

Theater J

• Mikveh
  • Outstanding Lead Actress, Resident Play, Lise Bruneau
  • Outstanding Lead Actress, Resident Play, Sarah Marshall
• In Darfur
  • Outstanding Lead Actress, Resident Play, Erika Rose
• New Jerusalem: The Interrogation of Baruch De Spinoza
  • Outstanding Supporting Actor, Resident Play, Michael Tolaydo
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Alexander Strain
  • Outstanding Resident Play

Toby’s Dinner Theatre

• Hairspray
  • Outstanding Director, Resident Musical, Toby Orenstein
  • Outstanding Supporting Actress, Resident Musical, MaryLee Adams
  • Outstanding Supporting Actress, Resident Musical, Jesaira Glover
  • Outstanding Ensemble, Resident Musical
  • Outstanding Resident Musical

Woolly Mammoth Theatre Company

• Clybourne Park
  • Outstanding Director, Resident Play, Howard Shalwitz
  • Outstanding Lead Actress, Resident Play, Jennifer Mendenhall
  • Outstanding Supporting Actress, Resident Play, Dawn Ursula
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Mitchell Hébert
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Cody Nickell
  • Outstanding Set Design, Resident Production, James Kronzer
  • Outstanding Ensemble, Resident Play
  • Outstanding Resident Play
• The Last Cargo Cult
  • Outstanding Non-Resident Production

Mike Clark: Today I’m talking with Michael Bobbit, the producing artistic director at Adventure Theatre in Glen Echo, Maryland. Thanks for talking with me today.

Michael Bobbitt: Thanks for having me.

Mike: So Adventure Theatre just opened Mirandy and Brother Wind. Tell me about that show.

Michael: Mirandy and Brother Wind is based on a Cal Ducott honor book written by Patricia Makiseck. The book came out in 1988. It is a fictional African American children’s book. Patricia Makisek is a prolific African American children’s book writer. This is a live staged musical adaptation of the book. It is a charming story about a little girl in 1906 who lives in South Carolina who wants to win the annual cake walk. She hears about the legend of Brother Wind, who is a fictional character who can kick up his heels and twirl and swirl and so she thinks he would be the best dance partner to help her with the cake walk. The reason why she wants to win the cake walk dance is because she likes cake (and everybody likes cake) so she becomes very determined to catch him so she can win the cake and everyone can be proud of her and pay attention to her.

Mike: Tell us more about a cake walk.

Michael: The cake walk is a dance created by African Americans during the Slavery Period and later became an exhibition dance. Basically it was sort of a nice way of mocking the slave masters and the way they danced. Cake walks were done at sort of private times while the slaves were trying to entertain themselves. No harm was meant, it was just sort of a way of imitating the way the European slave masters danced. When the slaves were emancipated it just became a way to celebrate and dance together.

Mike: So this is taking place early 1900’s or so?

Michael: Yes, the play actually takes place in 1906, but it is sort of loosely referred to as the early 1900’s. There is no specific thing that happens in the play that is specific to that date.

Mike: Felicia Curry is Mirandy.

Michael: She’s Mirandy. She is one of DC’s most well known actresses. Nominated for several Helen Hayes awards which is the big DC theater award. She really is kind of a power house of a performer. I secretly started writing this play with her in mind way back in 2007; hoping that I could get it produced and get her to star. The stars aligned and she was free and available and she is just amazing in this show.

Mike: Is it a really large cast?

Michael: For us it’s large. It’s a cast of eight. We usually do two to six actors. But they fill the stage nicely and I think with the joyous music and the joyous dance in the show it was important to have enough people on stage to you feel that when you were in the audience. Felicia is the title character, but I would have to say the whole cast really steps up and matches her energy and her skill.

Mike: Some of the other shows we have seen at Adventure, there is interaction from the crowd. Does that happen in this show, too?

Michael: You probably saw Spot’s Birthday Party.

Mike: Yes.

Michael: Not as much. Spot’s Birthday Party was so great because the kids were literally invited to his party . And so we wanted to make sure they were involved and the whole show was sort of designed as a way for them to enjoy his party. Most of the shows we do are not interactive it was just perfect for that play. For Mirandy you just sort of walk into the world and are sort of transported back into the world as opposed to participating in the world.

Michael: In addition to the fantastic cakewalk dance you are also going to see dances like the hambone which was sort of another traditional African American dance. You will see things like spoons and jugs. We really sort of have a romping fun time.

Mike: So how did you, the director, choreographer, learn the dances? Is that just something they knew and then you teach the actors?

Michael: No. What was difficult about the piece is that we had to go a little bit beyond internet searches because there is not much out there. There are a few clips of people doing cakewalk dances and actually most of those were more exhibition dances than they were what really happened. We had to back to library crawls. My writing partner and myself who lives in Houston, Texas sort of went through some expensive library crawls to find photos and find old video reels of those dances. Some of those dances are still handed down.

Our cakewalk consultant was the Dance Institute of Washington. Their artistic director Fabian Barns was a principal dancer with the Dance Theater of Harlem and they learned some of those dances when he was with the Dance Theatre of Harlem. So he had some more specific information for us. And luckily since those dances were mostly created for pedestrians and regular people they are not hard dances to learn. They are just sort of heavily stylized. So it was not hard to teach them.

Mike: So what is the music like? I assume it’s not some kind of full orchestra.

Michael: One of the wonderful things about children’s theatre, and one of the pitfalls, is that often because our ticket prices are so low, you can’t really quite afford to have a full orchestra so we track a lot of the music. But for this show that was a plus because we wanted to make sure we were using sounds that would have been around during that period. So my collaborator created the tracks for the show. He was able to find some really great authentic synthesized sounds. The music just sort of transports you in the world. But you will hear ragtime, you’ll hear cakewalk, you’ll hear hambone. You’ll hear an old African rhythmn called Jajuba. It is all sort of beautifully mixed with modern musical theater sounds. It’s very fun.

Mike: You said you co-wrote the play based off the book. What was that like? Is that a hassle getting the rights to be able to do that?

Michael: I was surprised. It was not very hard. My inquiry that I sent out the response came back within a week. Patricia Macisek the author was very excited about having us do it. I took awhile before I finished it because I finished writing it because I did not know if Adventure Theatre was quite ready to produce it. It is our first African American musical or show in our 60 year history. So I wanted to wait for a couple of years for our audiences to know that they are going to see all kinds of stories on our stage and all kinds of faces on our stage. This year seemed like the right year to get it produced.

So I started writing it in 2007. I did a lot of writing back then and then I kind of put it aside for awhile until Adventure Theatre was ready to produce it. Then we got really heavy into the writing in 2009, I think. The basic story is so fantastic. It has music and dance written all over it. It has family, it has history, it has heart. So it was not hard to expand on that. The places where we expanded were the places where we were just trying to figure out how to make it all theatrical. Of course that’s the fun part. The part I like a lot.

Mike: You are partnered with The African Continuum Theatre Company. The show will actually be moving in a few weeks.

Michael: Yes. I always think of challenges as opportunities. Again, this is our first time doing an African American piece. I wanted to align myself with partner that has a history of creating African American pieces. Nurturing African American works and also had an audience base that would really appreciate the show. So the first thing that popped into my mind was to give Joanne Williams, the executive director, a call at the African Continuum Theatre Company. She jumped on board.

The partnership has been great. We have been partnering on not only the material, but on the designers, the marketing, the outreach. It has just been really great. I think what’s going to be fantastic it taking the whole show down to the Atlas for three weeks. So if you don’t get to see it in Glen Echo Park you can see it down town in a bigger space which I think is going to be a lot of fun.

The biggest challenge was we had to create a show that could transfer easily.

Mike: Those are really different spaces.

Michael: It is a different space. The way they are shaping the room down there it is not going to be too offensively different. The biggest challenge is when it’s at the festival it has to tear down and set up within an hour for every performance. We had to design something that can break down and get set up every day for the fourteen or so performances that we have down there.

Mike: Well it sounds like a great show.

Michael: If you get a chance to see it you are going to leave tapping your toes and wanting to learn how to dance. And surprisingly you find it a very moving. I see people getting choked up. It’s interesting because it’s just about a little girl who wants to really win so people can pay attention to her, but in the process she learns about slavery and freedom and having fun and friendship. I think that’s all things that kids can relate to nowadays.

Mike: Are the kids that are seeing the show, are they getting it or do they think “Oh, I’m being taught something.”

Michael: Oh yeah. I believe that children’s theatre is meant to entertain especially in our area because the kids get so much information in school that it’s nice to entertain them for a little while. Often times I see plays where the message is so intense and the kids are getting banged over the head with message. I find that they get it. They are smarter than we assume they are. So if you can find a way to entertain them and give them a message at the same time it is truly a great thing.

Mike: What age is appropriate for this show?

Michael: Four and up. The music and the dancing and the bright colors. There is a little bit of puppetry in the show that the younger ones are getting it. The kids that are really going to get it are five, six, and seven year olds. But the four year olds are really having a fun time.

Mike: So how can people get tickets and how long does the show run?

Michael: It runs at Adventure Theatre until February 15 and then it moves to the Atlas from the 25th through March 13th. You can find tickets at www.adventuretheatre.org.

Mike: Is it evenings or weekends or is it daytime?

Michael: Weekends during the daytime. We have weekday student matinees for school groups at 10:30 AM. Then on the weekends the performances are at 11:00 and 2:00 at Glen Echo Park and then I think 1:00 and 4:00 when it is at the Atlas in DC.

Mike: Thanks very much for talking with me. I do appreciate it.

Michael: Thank you so much.

Adventure Theatre’s production of Mirandy and Brother Wind was truly children’s theatre at its best. It was full of bright colors, bright songs, and an easily understood moral to delight the younger set. Even better, it was full of clever jokes, impressive choreography, and polished performances to delight the older viewers. Anyone that is searching for a way to entertain little ones and themselves at the same time should take a trip Adventure Theatre to catch this production.

There are many good things to say about this production, but nothing shined quite as bright as the incredible choreography. It was the perfect blend of traditional African-American dance of the early twentieth century and modern musical theater. It was high-energy and creative, and it was brought to life with excellent precision by a cast of extremely strong dancers.

In the lead role, Felicia Curry gave an incredible performance. Her over-the-top energy and personality brought life and spirit to the production, and her vocals were awe-inspiring. The rest of the cast behind her brought the same consistent high-energy, commitment, and skill to their roles. In the already strong cast, amazing standout performances came from Ayanna Hardy (Orlinda) and Eric Williams (Monroe).

The lights, set, and impressive puppetry were all beautiful, fun, and full of clean details. The only complaint with the production was the sound. The background music was very loud and kept at a consistent level. For this reason, there were times when the music was unevenly balanced and over-powered the vocalists. It would be nice to see the same meticulous attention to detail in the sound that was paid to every other aspect of the production.

Sound issues aside, this was a clever, funny, engaging, beautifully-performed piece of children’s theatre, and it is highly-recommended to families.

Cast

• Mirandy: Felicia Curry
• Monroe: Eric Williams
• Orlinda: Ayanna Hardy
• Grandma: Lynne Streeter Childress
• Ma Dere: Jeri Marshall
• Brother Wind/Mr. Jessup: Calvin McCullough
• Ms. Geneva/Poinsetta: Soneka Anderson
• Ezel: Jobari Parker-Namdar

Production Crew

• Director: Jennifer L. Nelson
• Composer/Lyricist: John L. Cornelius, II
• Music Director: Darius Smith
• Choreographer/Librettist: Michael J. Bobbit
• Scenic Designer: Tim Jones
• Costume Designer: Kendra Johnson
• Lighting Designer: Curtis Hodge
• Sound Designer: Christopher Baine
• Properties Designer: Dre Moore
• Master Electrician: Sarah MacKowski
• Stage Manager: William A. Jackson
• Scenic Artist: Sasha Goldstein
• Puppet Designer: Ksenya Litvak
• Dramaturg: Jacqueline Lawto
• Cakewalk/Dance Consultant: Fabian Barnes
• Dialect Consultant: Kim Bey
• Movement Consultant: Karin Abromaitis
• Assistant Stage Manager: Camille Kashaka

Disclaimer: Adventure Theatre provided two complimentary media tickets to ShowBizRadio for this review.