Once upon a time, Signature Theatre would attract theatergoers by the hundreds this time of year with the lure of “summer hummer”-themed shows, in which top-notch entertainers get a little closer and more personal with patrons, packed into the organization’s intimate spaces in Shirlington.
Two years after the pandemic put a damper on all that, the company has announced a more diverse, as well as dispersed, summer season, kicking off with the free off-site “Signature Theatre Under the Stars” concert featuring powerhouse vocalist Kanysha Williams accompanied by Mark G. Meadows and his band The Movement.
Set to take place Friday, June 10, at 8 p.m., in Arlington’s Lubber Run Amphitheater (200 N. Columbus St.), the concert will include a mix of original tunes by Meadows as well as covers of upbeat iconic jams including “I Wanna Dance with Somebody” and “Superstition.”
Speaking of Meadows covering Stevie Wonder, this year’s summer cabaret series — officially marking the first cabarets at Signature since the pandemic — promises a focused riff on the impressive repertoire of the pop/R&B legend, centered around his 1980 platinum-selling album Hotter Than July, known for the hit “All I Do” and “Master Blaster (Jammin’).”
Meadows is the lead behind the cabarets, which will be directed by Signature’s Matthew Gardiner and presented in the ARK Theatre from July 5th to July 17th. Tickets are $38.
The summer 2022 schedule also includes Signature’s second annual “Broadway in the Park” outing at Wolf Trap featuring Signature stars and headlined by two Tony-winning leading ladies, Kelli O’Hara (The King and I) and Adrienne Warren (Tina: The Tina Turner Musical). The musical theater “under the stars” program takes place Friday, June 24, at 8 p.m. Tickets are $30 to $180.
Meanwhile, summer will get to sizzling at Signature a week before the Stevie Wonder cabarets with a concert presentation of a timely new musical written by Harrison David Rivers with music and additional lyrics by Ted Shen.
Performed in the intimate ARK space Thursday, June 30, through Saturday, July 2, We Shall Someday, directed by Kelli Foster Warder, weaves together story and song to chronicle three generations of a Southern Black family tracing the effects of racism, activism, and legacy from the Civil Rights era to today. Tickets are $25.
Signature Theatre is at 4200 Campbell Ave., in Arlington, Va.
Everyone is entitled their own opinion, but is everyone entitled to their opinion of your opinion? Furthermore, is your opinion a reflection of who you are in a greater scope as a person?
Those questions lie at the heart of Art, a starry play on Broadway that has been revived since its initial 1998 run, for which it won a Tony. Back then, it starred Alan Alda, Victor Garber, and Alfred Molina. Now, Neil Patrick Harris, Bobby Cannavale, and James Corden step into the work from French playwright Yasmina Reza, translated from its original language by Christopher Hampton.
Even in our era of short-form entertainment, the 100-minute comedy feels much too long. It evolves around a trio of three longtime friends who debate a $300,000 painting. As Porky Pig so succinctly stated, "That's all, folks!" Much like an artist and their sycophants who believe that a pretentious artpiece is masterful, theatergoers will also delude themselves into thinking that they have witnessed a show of great import. In fairness, they aren't totally wrong. Art does have more to offer than what it offers at first blush.
As director Joe Calarco put it to the press night audience at Signature Theatre's Fiddler on the Roof, he had a simple pitch for what would become his twentieth Signature production.
For his Fiddler, Calarco -- whose 2017 Jesus Christ Superstar at the Northern Virginia theater still ranks as tops among the handful I've seen -- envisioned a table in the round. The family table, the community table, where so much that matters in life happens, would serve as the center for this telling of the musical composed by Jerry Bock, with lyrics by Sheldon Harnick, and book by Joseph Stein.
You just can't keep a creative powerhouse down. Synetic may labor on without a dedicated performance space, but their Frankenstein; or, the Modern Prometheus simply soars. A beautifully-orchestrated feast for the senses, this is a classic Synetic-style spectacle of sound, movement and inventive story-telling.
Under the vision of director Paata Tsikurishvili Frankenstein has got it all: a striking and original score by composer Konstantine Lortkipanidze; rich and extraordinary projections and lighting from Zavier Augustus Lee Taylor and Brian Allard; physics-defying set pieces from Phil Charlwood; and an ensemble that brings everything they've got to the movement, mime, and heart-felt reimagining of this tale.
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