Theater
Triangles and triumphs
Stage warhorse ‘Oklahoma’ proves solid choice for new Arena space

‘Oklahoma!’
Through Dec. 26
1101 Sixth Street, S.W.
$45-$105
202-488-3300
‘Richard III’
Through Dec. 12
Washington Shakespeare Company
Artisphere, 1101 Wilson Blvd., Arlington
$25-$35
703-418-4808

Nicholas Rodriguez as Curly and Eleasha Gamble as Laurey in 'Oklahoma!' at Arena Stage's new Mead Center for American Theater. Rodriguez, who's gay, is entirely convincing as a straight character and generates genuine chemistry with Gamble. (Photo by Carol Rosegg; courtesy of Arena.)
When Arena Stage announced plans to inaugurate its breathtakingly renovated Southwest waterfront campus with āOklahoma!ā months ago, there were a few grumbles: Why mark the anticipated moment with an old, oft-produced musical?
As it turns out, director Molly Smithās rock-solid, rollicking production of Rodgers and Hammersteinās groundbreaking classic couldnāt be better suited for the occasion. Current, diverse and alive, Smithās āOklahoma!ā is as fresh as the companyās newly redesigned digs.
Set in turn-of-the-century Oklahoma territory, the 1943 Broadway hit is credited with being the first modern musical to integrate music and dance into its plot. The story revolves around two love triangles: Laurey, a headstrong farm girl, who plays hard to get with handsome cowboy Curly while stringing along another guy ā dangerous farmhand Jud Fry. Simultaneously, a more comic threesome ā Ado Annie, the girl who ācaināt say no,ā and her suitors: besotted cowboy Will Parker and Ali Hakim, a traveling Persian peddler ā work out their romantic issues.
Smith (who is also Arenaās artistic director) has cast Eleasha Gamble and Nicholas Rodriguez, both actors of color, as Laurey and Curly, leading parts traditionally played by white actors. The result is fabulous ā not only are the players terrifically talented, but the casting reflects actual life in the territory and Arenaās multi-cultural mission.
Rodriguez, who played Tarzan on Broadway and gay rights activist Nick Chavez on daytime soap āOne Life to Live,ā first appeared at Arena last season in āLight in the Piazzaā as Fabrizio, a romantic young Italian who falls for a slightly mentally-challenged American girl. With his gorgeous voice and dark good looks, he was terrific in the part. As Curly, Rodriguez again destroys the fallacy that gay actors cannot credibly play straight romantic leads. Not only is he believable, but the chemistry between him and the talented Gamble, who brings the perfect balance of strength and vulnerability to her role, is palpable.
The remainder of the diverse cast is excellent as well. Standouts include real life high school junior June Schreiner as boy crazy Ado Annie and genuine triple threat Cody Williams who plays Will. He lights up the stage in āKansas City,ā an acrobatic, first act showstopper. E. Faye Butler makes a wonderfully tough yet wise Aunt Eller, and Broadwayās Aaron Ramey is perfectly ominous as Jud.
Lead by musical director George Fulginiti Shakar, the dozen-or-so-person orchestra perched offstage in an under construction frontier school house compliments of set designer Eugene Lee, vibrantly interprets the showās mythic score including songs like āOh, What a Beautiful Morninā,ā āPeople Will Say Weāre in Love,ā and, of course, āOklahoma!ā
Parker Esseās bold and beautiful choreography gives a real sense of the settlers ā these men and women arenāt gentle folk. āThe Farmer and the Cowmanā number is virtually a controlled brawl. Yet Esse also considers the charactersā private and romantic aspirations, poignantly brining them to the fore in the āDream Ballet.ā
Without a doubt, āOklahoma!ā is Smithās best musical endeavor since ably tackling one of Rodgers and Hammersteinās other hits, āSouth Pacificā almost eight years ago.
Across the Potomac in Rosslyn, Washington Shakespeare Company (WSC) is christening its new home ā a black box space in Arlington Countyās recently opened Artisphere ā with an enthralling, futuristically stylish production of Shakespeareās āRichard III.ā Like Arena, WSC has also made some very smart casting choices ā particularly in giving Frank Britton the title role.
During an interview with me several months ago, Britton (who’s bisexual) commented that black actors donāt often get the opportunity to play the ruthless, crown-seeking Richard and he was going to make the most of his moment. Indeed he has ā Brittonās layered, nuanced performance as āthat foul bunch-backed toadā is a pleasure to behold.
Co-directors (and newlyweds) Christopher Henley and Jay Hardee have also cast women as the kingās advisors (roles originally written for men), adding an intriguing texture to the production. Here Annie Houston as Stanley expresses a motherās love for her endangered son; there are hints of a lingering romance between Barbara Papendorpās Catesby and the doomed Hastings played by Joe Palka. And in no other āRichard III,ā as I recall, does the scheming Buckingham (Adrienne Nelson) rock big blonde hair a la Angie Dickinson circa 1964. It’s a great season opener for WSC.
Theater
Rupert Murdochās powers on full display in āInkā
Media baron helped pave the way for Brexit, Prime Minister Thatcher

āInkā
Through Sept. 24
Round House Theatre
4545 East-West Highway, Bethesda, MD 20814
$46-$94
Roundhousetheatre.org
Yes, Rupert Murdochās loathsome traits are many, but his skills to succeed are undeniably numerous.Ā
In the first scenes of John Graham’s West End and Broadway hit drama āInk,ā an exciting year-long detail from the life of a burgeoning media baron, Murdoch’s powers of persuasion are on full display.
Itās 1969 London. Over dinner with editor Larry Lamb, a young Murdoch shares his plan to buy the Sun and rebrand the dying broadsheet, replacing the Daily Mirror as Britainās best-selling tabloid. Whatās more, he wants to do it in just one year with Lamb at the helm.
Initially reluctant, Lamb becomes seduced by the idea of running a paper, something thatās always eluded him throughout his career, and something Murdoch, the outsider Australian, understands. Murdoch taunts him, āNot you. Not Larry Lamb, the Yorkshire-born son of a blacksmith, not the guy who didnāt get a degree from Oxford or Cambridge, who didnāt get a degree from anywhere. Not you.ā
Still, Lamb, played convincingly by Cody Nickell in Round House Theatreās stellar season-opener, a co-production with Olney Theatre Center, remains unsure. But Murdoch (a delightfully brash Andrew Rein) is undeterred, and seals the deal with a generous salary.
Superbly staged by director Jason Loweth, āInkā is riveting. Its exchanges between Lamb and Murdoch are a strikingly intimate glimpse into ambition involving an ostensibly average editor and a striving money man who doesnāt like people.
Once on board, Lamb is trolling Fleet Street in search of his launch team, played marvelously by some mostly familiar actors. He makes his most important hire ā news editor Brian McConnell (Maboud Ebrahimzadeh) ā in a steam bath. The remainder of the Sunās new masthead falls handily into place: Joyce Hopkirk (Kate Eastwood Norris) the womenās page editor whose forward thinking is marred by her casual racism; Zion Jang plays Beverley Goodway, an awkwardly amusing young photographer; persnickety deputy editor Bernard Shrimsley (Michael Glenn) who learns to love ugly things; and an old school sports editor who proves surprisingly versatile, played by Ryan Rillette, Round Houseās artistic director.
At Lambās suggestion, the team brainstorms about what interests Sun readers. They decide on celebrities, pets, sports, free stuff, and ārather revolutionarily for the time āTV. Murdoch is happy to let readersā taste dictate content and the āWhyā of the sacred āfive Wsā of journalism is out the window.
Murdoch is portrayed as a not wholly unlikable misanthrope. He dislikes his editors and pressman alike. He particularly hates unions. His advice to Lamb is not to get too chummy with his subordinates. Regarding the competition, Murdoch doesnāt just want to outperform them, he wants to grind them to dust.
Loewith leads an inspired design team. Scenic designer Tony Cisekās imposing, inky grey edifice made from modular walls is ideally suited for Mike Tutajās projections of headlines, printed pages, and Reinās outsized face as Murdoch. Sound designer and composer Matthew M. Nielson ably supplies bar noises and the nonstop, pre-digital newspaper clatter of presses, linotypes, and typewriters.
From a convenient second tiered balcony, the Daily Mirrorās establishment power trio Hugh Cudlipp (Craig Wallace), Chris Lee Howard (Chris Geneback) and Sir Percy (Walter Riddle) overlook all that lies below, discussing new tactics and (mostly failed) strategies to remain on top.
Increasingly comfortable in the role of ruthless, sleazy editor, Lamb is unstoppable.
Obsessed with overtaking the Daily Mirrorās circulation, he opts for some sketchy reportage surrounding the kidnapping and presumed murder of Muriel McKay, the wife of Murdochās deputy Sir Alick (Todd Scofield). The kidnappers mistook Muriel for Murdochās then-wife Anna (Sophia Early). Next, in a move beyond the pale, Lamb introduces āPage 3,ā a feature spotlighting a topless female model. Awesta Zarif plays Stephanie, a smart young model. She asks Lamb if he would run a semi-nude pic of his similarly aged daughter? His reaction is uncomfortable but undaunted.
For Murdochās purposes, history proves he chose well in Lamb. By yearās end, the Sun is Britainās most widely read tabloid. Together they give the people what they didnāt know they wanted, proving the pro-Labour Daily Mirrorās hold on the working class is baseless and paving the way for things like Brexit and a Prime Minister Thatcher.
āInkā at Round House closes soon. See it if you can.
Theater
Local theater scene prepares for a season to remember
āEvita,ā a Garland tribute, āNight of the Living Deadā among highlights

Mosaic Theater Company has already stepped into the fall season with Psalmayene 24ās āMonumental Travestiesā (through Oct. 1), a new D.C.- set comedy that explores race, memory, and disturbing statuary. Mosaicās out artistic director Reginald L. Douglas directs. Mosaictheatre.org Ā
At Round House Theatre in Bethesda, itās James Grahamās āInkā (through Sept. 24). A co-production with Olney Theatre, the smashing joint effort rivetingly rehashes the beginning of the relationship between burgeoning media tycoon Rupert Murdoch (Andrew Rein) and an increasingly ruthless British editor Larry Lamb (Cody Nickell). Olneyās out artistic director Jason Loewith directs. Roundhousetheatre.org
Shakespeare Theatre Company rather uncharacteristically kicks off its season with a musical, Andrew Lloyd Webberās āEvitaā (through Oct. 15). Produced in cooperation with Bostonās American Repertory Theater and staged by young director Sammi Cannold, the show promises a new take on the rise and fall of Eva Peron (played by Shireen Pimental), Argentinaās iconic first lady, both sainted and despised in equal measure. Shakespearetheatre.orgĀ
Following the recent death of GALA Hispanic Theatreās beloved artistic director Hugo Medrano, the Columbia Heights company marks the opening of its 48th season with āBaƱo de luna/Bathing in Moonlightā (through Oct. 1), written and directed by Pulitzer Prize-winning out playwright Nilo Cruz.
The provocative drama (in Spanish with English surtitles) centers on the illicit romance between a handsome Catholic priest (RaĆŗl MĆ©ndez) and talented pianist parishioner (Hannia GuillĆ©n). The cast also features Hiram Delgado, Luz NicolĆ”s, and out actors Victor Salinas and Carlos Castillo. Galatheatre.orgĀ
Studio Theatre marks its foray into foreign language with āEspejos: Cleanā (through Oct. 22), a bilingual play with both Spanish and English supertitles by Christine Quintano. The new work takes a look at isolation and the power of being seen when two women from different worlds cross paths in touristy CancĆŗn, Mexico. Studiotheatre.org
Through Oct. 8, Woolly Mammoth is premiering Sasha Denisovaās āMy Mama & The Full-Scale Invasion.ā Starring multiple Helen Hayes Award-winning out actor Holly Twyford as Mama, the 90-minute long, three-person piece describes an old Ukrainian womanās fantastical account of her experiences in the war with Russia. Woollymammoth.netĀ
Fordās Theatre presents the premiere production of playwright Pearl Cleage āSomething Moving: A Meditation on Maynardā (Sept. 22 – Oct. 15).Ā The work reflects on Maynard Jacksonās game-changing 1973 election and legacy as Atlantaās first Black mayor and strong gay ally. The 10-person ensemble cast includes queer actors Billie Krishawn and Tom Story. Seema Sueko directs. Fords.org
And a note to friends of Dorothy. For one night only at the Strathmore in Bethesda, itās the Liza Minelli-produced āGet Happy! Michael Feinstein Celebrates the Judy Garland Centennialā (Sept. 21). The good-time show features famed out pianist Feinstein performing Garlandās hallmark songs along with big-screen film clips, never-before-seen photos, and rare audio recordings. Strathmore.org
The Edge of the Universe Theater is offering Harold Pinterās āThe Caretakerā (Sept. 29 – Oct. 22) at The Writerās Center in Bethesda. The absorbing 1960 psychological study involving two brothers and a homeless man was Pinterās first commercial success. Stephen Jarrett directs. Universalplayers2.orgĀ
On Capitol Hill, Taffety Punk Theatre Company presents Kelsey Mesaās intriguing new play āLa SalpĆŖtriĆØreā (Sept. 28 ā Oct. 15), a painful yet heartening exploration of one womanās experience as an inmate in the dreaded asylum known for its curious and publicly demonstrated methods of ātreatment.ā
The four-person cast includes Fabiolla da Silva, Yihong Chen, Danny Puente Cackley, and celebrated local actor Kimberly Gilbert. Danielle A. Drakes directs. Taffetypunk.com
At 1st Stage in Tysons Corner, itās āThe Chosenā (Sept. 28 ā Oct. 15). Penned by Aaron Posner and Chaim Potak, itās the story of two Jewish teenage boys navigating friendship, family, and religion in 1940s Brooklyn. Artistic director Alex Levy directs. 1ststage.org
Arena Stage opens its season with āPOTUS: or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive,ā (Oct. 13 – Nov. 12), Selina Fillingerās feminist farce describes a staff of women who keep their dim president and beleaguered country afloat. Directed by Margot Bordelon, the singularly female seven-member cast includes Felicia Curry, Naomi Jacobson, and Natalya Lynette Rathnam. Arenastage.org
Through Nov. 11, Constellation Theatre Company presents Sarah Ruhlās adaptation of Virginia Woolfās novel āOrlando,ā a trans tale of an amorous young nobleman who one night goes to sleep as a man and awakens the following morning as a woman. Nick Martin directs. Constellationtheatre.orgĀ
Just in time for Halloween, Rorschach Theatre presents a reimagining of filmmaker George Romeroās 1968 zombie cult classic āNight of the Living Deadā (Oct. 27-Nov. 19) with an āunforgettable theatrical experience with thrills and surprises for both horror fans and those new to the genre.ā Lilli Hokama directs.Ā Rorschachtheatre.com Ā
Lauren Yeeās āKing of the Yeesā is making its D.C. premiere at Signature Theatre in Arlington through Oct. 22. Itās not a musical (Signatureās specialty), but a play, more specifically āa vibrant, semi-autobiographical comedy about community, culture and the connection between fathers and daughters.ā Out actor Grant Chang plays the playwrightās father Larry Yee.
And then itās āRagtimeā (Oct. 24 – Jan. 7) directed by Signatureās powerhouse artistic director Matthew Gardiner. With a score by Stephen Flaherty and Lynn Ahrens, and an adaption of E.L. Doctorowās novel by extraordinary gay playwright Terrance McNally (who succumbed to COVID complications early in the pandemic), the epic musical intertwines storylines from early 20th century New York including the scandal involving Evelyn Nesbit portrayed on celluloid in āThe Girl on the Red Velvet Swingā with Joan Collins as the eponymous showgirl. Sigtheatre.orgĀ
Broadway at the National continues with hits from the Great White Way including āMrs. Doubtfireā (Oct. 10-15). Rob Mclure reprises his Tony Award-nominated performance as an out-of-work actor who poses as a Scottish nanny in a desperate attempt to stay in his kidsā lives followed by āThe Wizā (October 24-29), a gospel/rock/funk infused take on āThe Wizard of Ozā with a Tony Award-winning score by Charlie Smalls. Broadwayatthenational.comĀ
Theatre J presents Jenny Rachel Weinerās āThe Chameleonā (Oct. 11- Nov. 5), directed by Ellie Heyman. Rampaging through questions of identity, representation, and the complications of assimilation, Weinerās new comedy centers on an aspiring actor poised for her big break, or so she hopes. Theatrej.orgĀ
Along with promising works, Theatre Week (Sept. 21 ā Oct. 8) is ushering in fall with a three-week-long celebration of the launch of the 2023-2024 theater season in the DMV. The festivities begin with Kickoff Fest, a free all-day event at Arena Stage on Saturday Sept. 23.
Throughout Theatre Week, more than 25 area productions will offer discounted tickets at $22, $40, and $60 through todaytix.com. More information is available at theatreweek.org.
Theater
Little Amal spreading refugee awareness across U.S.
12-foot figure brought to life by three puppeteers

āAmal Walks Across Americaā
Sept. 17 and 19
walkwithamal.org
Since the summer of 2021, Little Amal, a 12-foot puppet portraying a 10-year-old Syrian refugee, has roamed far and wide spreading refugee awareness. After walking all over Europe, exploring the streets of New York City and Toronto, she is now trekking across America.
Created by internationally acclaimed artistic director Amir Nizar Zuabi in association with Handspring Puppet Company out of South Africa (famed for the brilliant puppetry behind āWar Horseā), āAmal Walks Across Americaā highlights the cross-cultural experiences of the millions of refugee children fleeing war, violence and persecution throughout the globe, each with their own story.
Little Amal was inspired by an unaccompanied minor character who appeared briefly in āThe Jungle,ā a play created in the former Calais jungle encampment in 2015.
As a sort of honorary ambassador/refugee, the very large puppet has clicked with audiences wherever she goes. And now through early November, Amal is visiting 35 towns and cities from the East Coast to San Diego where thousands of artists and arts organizations creating free public events are slated to show up to welcome her.
On Sept. 17 and 19, Amal will be in D.C. Her program includes stops at Lafayette Square (a high school marching band), Black Lives Matter Plaza (a Muslim childrenās choir and shared testimonies), McPherson Square, and Franklin Park where the Washington Performing Arts Children of the Gospel Choir perform, and the park is filled with family art activities such as sidewalk coloring books, an activation of letters to Amal from Planet Word, and fare from Immigrant Food.
Though ostensibly on her own, Amal is brought to life by three puppeteers: one inside her torso walking on stilts, and two operating the arms.
Ashley Winkfield, a multidisciplinary nonbinary artist based in Harlem, New York, handles one of the arms.
āPuppetry is my main art form. I sort of fell into it,ā they explain.
As an undergrad at University of North Carolina at Chapel Hill, they learned puppetry in a workshop of Basil Twistās āRite of Spring.ā Twist liked what he saw and invited them to follow the production to Lincoln Center where they made their New York debut.
āPuppeteering involves choreography, dance, and movement, and also actingā¦all the things I love,ā says Winkfield, 31. āThrough puppeteering Iāve done theater, singing, and travelled the world. Iām fortunate to do this craft.ā
Though not part of Little Amalās original European tour, they joined the walk with three weeks in New York (2022) followed by a shorter stint in Toronto (2023), and now theyāre part of the national gig.
When Amal arrives on the scene of an event, her team dresses her and checks mechanisms away from the gathering crowd. But once she stands and walks around the corner, itās show time. Before swarming her, fans and onlookers react with variations of surprise and excitement. Often local artists will present her with things theyāve made like outsized library cards, books, and flowers.
Winkfield describes the puppet as ābeautifully articulated,ā especially for her large size: āPeople want to reach out and touch her beautifully sculpted hands; theyāre made from a hard material but still have a caressing ability to them.ā
Amalās message resonates with the puppeteer too.
āShe brings the crisis face to face. Sheās a symbol of refugee children and all displaced people. Indigenous leaders Iāve met on the road, understand where sheās coming from, and as a Black American, thatās something I understand about my own family history, not knowing where I come from and what that means.ā
Winkfield hopes moving forward across the continent, the project will do more events with the queer community.
āAs queer people, we very often have chosen family. Amal is discovering her identity on the road. Sheās searching for comfort and family.ā
Along the route, the project partners with different organizations and artists who help coordinate events. Winkfield rather blithely opines that itās āa logistical miracleā the way things come together.
āAnything can happen. As puppeteers we donāt have a lot of information about the next event, so just like Amal, weāre experiencing whateverās ahead with fresh eyes.ā
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