Theater
Studio’s Muse
New artistic director first to succeed founder Zinoman
David Muse, the new artistic director of the Studio Theatre. (Washington Blade photo by Michael Key)
He has been labeled a “wunderkind,” but no one would mistake this young man who has taken the helm of the Studio Theatre as a “wild child,” a Rimbaud on the rampage, scary, impudent, a feral genius in a state of artistic nature.
For with David Muse, who became at age 36 Studio’s second artistic director when founder Joy Zinoman passed him the reins last September, the clearest impression is of a young man with artistic time and motion studies on his mind, with a bookkeeper’s talent for cutting costs or adding a new line to the budget — either way, it’s the temperament of a manager.
But that would be the wrong impression also.
The best explanation about what makes David Muse run — as an artist himself, Yale-educated twice over, as well as the new manager of Studio Theatre — may come from Zinoman, who says, “David’s story is the classic, American story of a smart, talented kid from a small town who finds his passion, pursues it with dedication and intensity, and manages to win friends and admirers by virtue of his charm, sensitivity and intelligence.”
She has also said of the preternaturally calm and highly cerebral Muse, a vegan, a cyclist and a fitness buff, that “he’s very seductive and charming,” and Susan Butler, Studio’s board chairman, told the Washington Post that “I hope he likes to raise money.” That’s a handy charm in that rarefied realm of courting wealthy patrons, coaxing those birds from their tall trees and out of their mansions, just another talent for Muse to demonstrate.
Muse must use persuasion to find new patrons just as he has also found old patrons, key sponsors like Zinoman of course but also Michael Kahn at the Shakespeare Theatre Company who plucked Muse from New York City to return to Washington in 2004 to become his artistic aide-de-camp. His talent is in having talent and in inspiring others more senior also with talent to appreciate and invest in his own talent. Which is sizable.
Consider that he has amassed a glittering resume as a director — including staging an all-male version of “Romeo and Juliet” — since arriving in D.C. in 1996 to teach calculus to kids at Eastern High School, when he was soon drawn to theater at Studio’s own acting conservatory, where first he was a student and then began to dabble part-time as a “juvenile,” the theatrical term for a male newcomer, enchanted by the stage, focusing on acting at the beginning, one time even dressing as an ostrich in size-13 high heels. He later tackled directing also.
Today he is filling even bigger shoes, succeeding the trail-blazing Zinoman in command of about 60 staff in four stages seating 900 in three buildings with about 60,000 square feet set in the heart of D.C.’s Logan Circle neighborhood, anchoring in a former auto showroom at 14th and P Streets. With its more than $5 million annual budget, Studio is a major force on the local theater scene, mounting major productions every year and with its new and impressive 2011-2012 season just announced. And of course he is also in charge, with Joy Zinoman still as its lead faculty member, of the Studio Theatre Acting Company, where his serious career in theater began.
Born in Appleton, Wis., he spent most of his childhood in Fulton, Mo., a small town (11,000). In high school he threw himself into theater and graduated valedictorian. In 1992 he left Fulton, the first student from his high school to attend an Ivy League school, for New Haven and Yale University where he studied ethics, politics and economics. Upon graduation, Muse joined Teach for America and headed for D.C., teaching math and also leading Outward Bound wilderness programs for troubled youths during the summer. But he also found his way to Studio’s acting school, to hone his passion for drama, and in 2000 he returned to Yale, this time to its drama school, to earn a master’s in directing.
Next he moved to New York City, but then he soon came back to D.C. when summoned by Kahn to become his second in command as associate artistic director at the Shakespeare Theatre Company, where he helped grow the company from its single theater at the Lansburgh with the addition of the new Harman Hall. He also was primary liaison for all the talent. He also began to direct plays at Studio’s smaller and edgier 2nd Stage.
The next year, 2006, also at Studio, he directed Bryony Lavery’s critically lauded “Frozen.” Then, last year, while also directing an electrifying version of Neil LaBute’s “Reasons To Be Pretty” there, he also threw his hat into the ring to replace Zinoman. After a scrupulous nationwide search lasting a year, he pulled that rabbit from out of that hat, emerging from half a dozen finalists to step into her shoes there officially last September.
Asked about his artistic vision, he demures at first, saying that he finds it “challenging to say the least” to define such an overview “when the work here is so purposefully eclectic, with so broad a range of theatrical offerings.” He also offers what he calls “another disclaimer” to having any “broad vision,” in that “you need to leave room,” he insists, for the thespian Holy Spirit, “for what feels right, this year, or at any other moment.”
Besides, Muse says, Studio “is not a place that needed someone to come in, to save or reinvent it.” But that said, he has even so his own vision of course, which is why in addition to his managerial mindset he was chosen for this job.
“The challenge,” he says, is “to balance all the historic strengths of this place with some new energy, and that’s what I aim to do.”
Those strengths, he says, include that it stages what he rightly boasts are “plays of real literary and theatrical merit.” He intends, he says, to build on that Studio strong deck of cards by pulling out some new ones — by “going in a little less familiar direction,” in part by bringing in more international productions but especially by “working with living writers, and working with them on the creation of new work,” not generally seen as a strong card at Studio in the past.
“We want to welcome these writers into the building as active collaborators,” he says, pointing to two world premieres slated for Studio in its just-announced 2011-2012 season.
This year, meanwhile, has included a season of superb performances in productions like the gay-themed “Marcus; or the Science of Sweet” (though Muse is straight and has a girlfriend), a season that has been the result of his collaboration with Zinoman, which will also later feature Anna K. Jacob’s “Pop!” a new musical about Andy Warhol. Muses also draws attention to “The History of Kisses,” set for this summer as an example of collaboration with its author, David Cale, someone Muse calls “an electrifying solo performer, returning to D.C. after a long history here, but having been away for about 10 years.”
But it is with next year’s slate of 11 offerings that Muse lets his own muse come to the fore. First out of the gate, Sept. 7-Oct. 16, comes a new play in its U.S. premiere, directed by Muse, “The Habit of Art,” by Alan Bennett, the English author of “The History Boys,” whose career began decades ago as a member of the Oxford-Cambridge troupe of performers, “Beyond The Fringe.”
Starring the great D.C. actor Ted van Griethuysen as the gay poet W.H. Auden, it is set deep in the bowels of London’s National Theatre as rehearsals for a new play go on and the famed composer Benjamin Britten, also gay, and Auden’s former lover, now troubled at work on a new opera, seeks out the poet after a 25-year separation, to collaborate again, this time artistically. Between visits by Auden’s rent-boy and a biographer — briefly mistaken for the rent-boy — these two aging artists must wrestle with long-buried desire and current jealousy and seek to understand all the reasons their erstwhile friendship fell apart.
Called both wistful and “filthily funny,” the play is what Muse calls “an imaginary meeting” between the two great artists, when after a quarter century Auden comes to talk about collaborating again, but the rent-boy keeps returning” as the play progresses.
David Muse (Washington Blade photo by Michael Key)
Looking to the new season, Muse also points to two world premieres — one in the Lab Series Sept. 28-Oct. 16 — “Lungs,” by Duncan Macmillan,” the chamber drama of a couple trying to face their future in a time of global anxiety over terrorism and erratic weather. The other world premiere comes next February and March in Studio’s 2nd Stage, in a new play, “Astro Boy and the God of Comics,” by Georgetown University theater professor Natsu Onoda Power, who also directs.
Muse says she has been invited to come to Studio “to conceive of this new play” there. It takes on Japanese Manga in a highly visual performance that he calls “a retro and sci-fi, multi-media extravaganza” about the 1960s animation series “Astro Boy,” a crime-fighting boy robot, and the life of his creator Osamu Tezuka.
Another play, set for November-December, is written and performed by former “Daily Show” correspondent Lauren Weedman, who has been called “a female Robin Williams.” This one-woman show, “Bust” is based on her experiences working as a volunteer advocate in a Southern California prison for women. In her solo performance she plays dozens of characters, switching from prostitute to parole officer, addict to editor with what Muse calls “nuance and empathy.”
Other plays will also startle and stir audiences, he predicts, including “The Golden Dragon” by German playwright Roland Schimmelpfennig, in its U.S. premiere in November-December. Called both “poetic” and “brutal,” it is set in the cramped kitchen of an Asian restaurant where four cooks pull the tooth of a Chinese co-worker. His tooth ends up in the Thai soup of a flight attendant, and that’s just the beginning of unexpected linkages connected to the young Chinese man sans tooth. Muse calls it “fierce and vicious” but also “a kaleidoscopic look at a globalized world,” where five actors “cross age, race and gender” to play 15 characters showing “how intertwined our lives really are.”
Also certain to draw attention, Muse predicts, will be another of the 2nd Stage productions, coming in the summer of 2012, “Bloody Bloody Andrew Jackson,” by Alex Timbers, with music and lyrics by Michael Friedman.
“American history has never been this sexy,” Muse says, “in this rowdy and irreverent musical,” a scathing satire that re-imagines President Andrew “Old Hickory” Jackson as a rock star.
Theater
Timothy Nelson on the premiere of his opera ‘Song of Sakuntala’
Story of love, loss, redemption unfolds amid Indian classical music
‘The Song of Sakuntala’
IN Series
In Washington and Baltimore
Atlas Performing Arts Center, 1333 H St., N.E.
(Selected dates June 6-14)
Baltimore Theatre Project, 45 W. Preston St., Baltimore
(June 19-21)
$25-35
Inseries.org
As the artistic director of IN Series, Timothy Nelson rarely blows his own horn, but for the world premiere of his own opera “The Song of Sakuntala,” he’ll make an exception.
During a recent interview squeezed in between afternoon and evenings rehearsals, Nelson took time to talk about his opera (while nearby his “blessing of a husband” prepared a giant dinner for the entire cast and crew).
As smart and gracious as ever, Nelson explains that he wrote the opera a decade ago at a low point in his life: He was divorcing and wanted to immerse himself into something musical, all-consuming, a project tantamount to writing a thick novel.
At the time, Nelson’s mentor, the influential American stage and opera director Peter Sellers, pushed him to write again. Nelson recalls, “I hadn’t composed for some time. I wanted to see if I could do it, and I wanted to revisit Indian classical music.”
He adds, “There was never any anticipation of it being produced. It was a way of processing and dealing with life in a healthy way.”
Adapted from Kālidāsa’s 5th-century dramatic masterpiece, “The Song of Sakuntala” brings together Western baroque and Indian classical musical traditions into a story of “love, loss, memory, and redemption.” His libretto, a reflection of South Asian storytelling, includes the words of the great Indian poets Tagore, Naidu, and Vidyapati.
The story follows “a prince and a woman of the forest who fall in love and wed in secret. He departs, and she later seeks him out, only to have him deny all recognition of her. She disappears in sorrow; he spends the rest of his life searching. At the end, in the same forest where they first met, they find each other again and are transfigured.”
At 90 minutes, the uninterrupted piece features three singers (Aryssa Leigh Burrs, Teresa Ferrara, Marvin Wayne Allen) accompanied by an instrumental ensemble led by acclaimed sitarist Rajib Karmakar, who specializes in bridging Indian and Western classical traditions, and conducted by Nelson who also joins the music making on drone and harmonium.
Burrs plays the prince. Originally written for a countertenor, Nelson imagined a man singing the role but ultimately cast a woman to play the part.
Because the piece is “fiendishly difficult in almost unnecessary ways,” Nelson explains with a wicked chuckle, he knew that Burrs had the talent and sharp brain required for the role.
The prince is cruel without explanation. Despite that, 40-something Nelson admits to relating to the opera’s prince: “In midlife, you reflect on your mistakes. At least for now that’s how I feel. I might have felt different earlier and it could change later on.”
Nelson lived in India for nine months, backpacking and studying in different places, absorbing different musical styles and playing pieces as varied and complex as any Western music.
And while based in D.C., IN Series performs in both Washington and Baltimore using various borrowed venues. “The Song of Sakuntala” is playing at both the Atlas Performing Center in D.C. (6/6-6/14) and Baltimore’s beloved Baltimore Theatre Project (6/19-6/21) with its terrific acoustics.
In a past conversation, Nelson who lives in Adams Morgan, shared that all audiences bring something specific to the table. Baltimore tends to attract more risk taking while D.C. audiences often lean into the intellectual side of what the company does.
At the helm of IN Series for eight years, Nelson has relished reimagining opera and musical theater, but only recently did he decide to program his latest work. The way in which “The Song of Sakuntala” blends Western and non-Western music is very much a part of the IN Series music brand, so it seemed the perfect selection to close the season.
“I do this humbly with great hesitancy. And I know it feels a little unseemly to cheer on your own work, but I will say, it’s a piece that is successful in sitting in both places (Western and South Asia) and the Indian musicians on board are responding to it.”
Theater
Cedric Neal on his juicy narrator role in ‘Pippin’
A rash of terrific reviews for a part he’s longed to play
‘Pippin’
Through July 26
Signature Theatre
4200 Campbell Ave.
Arlington, Va.
$47-$153
Sigtheatre.org
As Leading Player in Signature Theatre’s revival of “Pippin,” Cedric Neal portrays the manipulative narrator who guides the title character, a young medieval prince, on a quest for meaning. Neal is also receiving a rash of terrific reviews for a part he’s longed to play for some time.
Recently, after the first “Pippin” preview performance, Neal shared his thoughts. “Last night was exciting, mystic and exotic. It was magical. Words are overused, but it was all those things.”
With a powerful, rich tenor voice, Neal is best known as a charismatic West End and Broadway star (“Back to the Future,” “Hadestown,” “Guys & Dolls”) as well as for his memorable semifinalist win on the “The Voice UK” in 2019.
And now Stephen Shwartz’s “Pippin” marks Neal’s second show at Signature Theatre, a place he dearly loves. His first was as Jimmy Early in “Dreamgirls” in 2012, a raucous role that won him a Helen Hayes Award. During that production, Neal forged deep friendships with actor Nova Y. Payton and director Matthew Gardiner. What’s more, while rehearsing the show, he met his husband.
“He likes to say we met on Match.com but I remember it differently,” says Neal. “It was something called Adam4Adam. It might have been a hookup, but instead we met for coffee in Shirlington Village where we talked and talked for hours. Two years later we married.”
BLADE: Your triumphant return to town sounds pretty great.
NEAL: I’m having the time of my life. Takes me a half hour to come down after the show ends. It’s explosive.
BLADE: Is Leading Player a part you’ve wanted to do?
NEAL: Very much, and just this way. Rather than leaning on its circus troupe aspect, our director Matthew [Gardiner] explores the darkness of the story and the risk of falling prey to cultish ideology.
BLADE: Just how nefarious is Leading Player?
NEAL: I’m not judging my character. I believe at some point that Leading Player has good intentions. Somewhere along the line, ego becomes involved. The promise becomes warped.
BLADE: When doing “Pippin,” is it possible to separate the iconic Bob Fosse choreography and Ben Vereens’s sexy portrayal of Leading Player from the original production?
NEAL: Not entirely, but in our production Matthew [Gardiner] and Rachel Leigh Dolan have meticulously honored the choreography and storytelling of Fosse’s work without it being a carbon copy. I think it’s amazing.
BLADE: Was your participation in the “The Voice UK” a strategic career move?
NEAL: It was. At the time, I had just gotten a BIG NO on a West End show where the casting director told me the part should have been mine but using a then-unknown American would have created an uproar.
Then when “Voice UK” scouted me, my agent said this would be the perfect opportunity to boost my profile. Ultimately, I was given a global scale opportunity to go onstage and sing as Cedric.
BLADE: Your thrilling, original rendition of Stevie Wonder’s “Higher Ground” made the audience and judges like Jennifer Holliday and Sir Tom Jones just go crazy (in a good way). In musical theater, do you make beloved, well-known songs like “Join Us” and “Glory” in “Pippin,” your own in that same way?
NEAL: I couldn’t always, but I can now. When I talk to younger performers, I tell them about the song in “Gypsy” where the experienced strippers talk about getting a gimmick if you want to be a star.
I come from a gospel, R&B, and serious classical background and have always retained my gospel, soulful flair on things. When I entered the world of musical theater, I’d put my twist on a song and the musical director would ask that I tone it down.
Ten years into my career, I became known for putting my flair on musicals, and that became my gimmick. To “Cedricfy” a song is a legitimate term in musical theater. And you’ll see me bring that to “Pippin.”
BLADE: Reading about you, it seems you’ve made bold choices and surround yourself with supportive friends and family, blood and chosen.
NEAL: Yes, and it’s not an accident. I come from a bloodline of revolutionaries and pioneers whose shoulders I stand on. My ancestors are all fighters and refuse to let their fight be in vain. Also, I will always step up to the plate and represent all the marginalized communities that I’m a part of: Black, gay, biracial relationships, liberals.
BLADE: Are you and your husband still living in the windmill?
NEAL: We left the windmill but we’re still in the U.K. Try to imagine our story: A Black boy from the hood in Dallas, Texas, meets a fifth-generation cattle rancher from Alberta, Canada, and they move to the UK, adopt a labradoodle, and live in an actual windmill. Isn’t that the gayest shit you’ve ever heard?
BLADE: It’s like a fairytale.
NEAL: It was. It still is.
Theater
‘The Inheritance’ is most-nominated at this year’s Helen Hayes Awards
42nd annual celebration of excellence in local theater set for May 18
Helen Hayes Awards 2026
May 18, 2026
For tickets go to theatrewashington.org
Last year, when out director Tom Story took on the daunting task of directing Round House Theatre’s production of “The Inheritance, Parts One and Two,” he knew that casting would be important, maybe even paramount, to the endeavor’s success. So, Story didn’t mess around.
Penned by queer playwright Matthew López, “The Inheritance” (inspired by E.M. Forster’s 1910 novel “Howards End”) is based on gay culture in the wake of the AIDS crisis.
Story looked at actors he knew, and some he didn’t. He wanted low drama and maybe players who could relate to the LGBTQ experience. In the end, the production’s 13-person cast was entirely queer except for brilliant local favorite Nancy Robinette as Margaret, the wise housekeeper.
Clearly, Story’s vision resonated with audiences. Round House’s production of “The Inheritance” is the most-nominated work of this year’s Helen Hayes Awards, earning 14 nominations. It’s also one of Round House’s highest grossing popular successes ever.
The queer cast members whose ages ranged from about 22 to 60, worked hard and enjoyed the process, and along the way garnered an Outstanding Ensemble in a Play (Hayes) nomination for their efforts.
The ensemble included Jamar Jones as Tristan, a brilliant doctor who leaves New York for Canada after deciding there’s no place for a gay, HIV-positive Black man in America. For the experienced actor, being part of “The Inheritance” was profound: “I think it was a divinely orchestrated production.”
He adds “I really feel that it’s so rare that you get to work on a show of that magnitude…size, time, where virtual strangers genuinely fell into rhythm. We became a cohort. I never felt a sense of unease, or reluctance to try things. I could be as big or bold as I wanted to be; or I could be small. Fail, mess up, try again. I didn’t feel judged.”
Jones considers Richmond his home, but says “I’m based where the work is.” Currently, he’s back at Round House rehearsing “Sally & Tom” (May 27-June28), a play within a play/meta exploration of the relationship between Thomas Jefferson and Sally Hemings by Suzan-Lori Parks.
Jones plays both a contemporary violinist and an enslaved fiddler, parts that have required him to learn to “air fiddle.” He’s all over it: “I want to represent the art and to be as precise as possible. Taught by an instructor, I’ve made strides with movement of the bow; next up is finger placement.”
Will he leave the play a violinist? “I’ll report back on closing night. Maybe I will have added something to the special skills list on my resume.”
For about a decade, Jones worked in living history, interpreting, performing, and writing pieces about the enslaved people of Colonial Virginia. Among the many historical characters he portrayed was Jupiter (Thomas Jefferson’s longtime enslaved manservant), an experience that’s proved a connection and preparation for his current role.
The 42nd Helen Hayes Awards celebration recognizing excellence in professional theater in the DMV will be held on Monday, May 18, 2026 at The Anthem on the District Wharf in Washington, D.C. Named for Helen Hayes, the legendary first lady of Broadway, the program consists of the awards presentation hosted by Felicia Curry, Awa Sal Secka, and Derrick Truby, followed by an after-party at nearby Whitlow’s.
With works selected from 149 eligible productions presented in the 2025 calendar year, nominations were made in 41 categories and grouped as either “Helen” (non-Equity/small Equity presence) or “Hayes” (Equity-heavy).
The many nominations are the result of 49 vetted judges considering 1,997 pieces of work, such as design, direction, choreography, performances, and more. The productions under consideration included 42 musicals, 107 plays, and 33 world premieres.
The following are more of this year’s queer nominees.
A past Helen Hayes Award recipient and nominee, Fran Tapia is competing against herself this year in the Outstanding Lead Performer in a Musical (Helen) category. Nominated for her memorable turn as the diva barkeep in GALA Theatre’s “Columbia Heights Bolero Bar,” an immersive musical centered on songs of longing and immigration set in a diverse neighborhood on the eve of a divisive presidential election
“It was a challenging time, because a lot of what was happening in the show was happening in the neighborhood,” says Tapia who lives in Columbia Heights just eight minutes from GALA.
Based in D.C. since 2019, Tapia says “Being recognized in a country that is not my homeland but where I’m building my artistic home, is deeply meaningful. And the variety of roles I have been able to play speaks to the richness of DC theater and the collaborators who trusted me with these roles.”
Her other individual nomination is for the title role in Spooky Action Theater’s “Professor Woland’s Black Magic Rock Show,” a passionately comedic political satire. She approached the mysterious central character as nonbinary.
Tapia (“Chilean, Latina, queer and proud immigrant”) says while very different, both performances involved particularly strong characters. She’s grateful audiences responded positively to her work.
Stanley Bahorek, who moved to D.C. with his husband four years ago, is best known as an accomplished actor with a long list of Broadway and regional credits (including playing Carl, the gay son in Studio Theatre’s recent production of “The Mother Play”). Now, he is nominated for Outstanding Music Direction (Helen) for his work on “A Strange Loop,” a production of D.C.’s Visionaries of the Creative Arts (VOCA) in collaboration with Deaf Austin Theatre. He shares this nomination with Walter “Bobby” McCoy.
Michael R. Jackson’s Tony and Pulitzer wining play “A Strange Loop,” is the story of Usher, a Black, queer theater usher trying to write a musical. VOCA’s take on the work is seen through a deaf BIPOC lens with a deaf Usher played by a deaf actor (out actor Gabriel Silva). Invited by director and longtime friend Alexandria Wailes (who is deaf), Bahorek (who is hearing) joined the creative team as a sort of hybrid associate director/ music supervisor.
“I’m fluent in conversational American Sign Language (ASL),” he says. “I sort of functioned as a sherpa between the hearing and deaf and hard-of-hearing creatives. It’s been a great thrill to be a part of VOCA’s biggest production to date.”
If he and McCoy take home the prize, who makes the acceptance speech? Bahorek takes a beat before replying “That’s something we still need to talk about. And soon.”
A full list of award recipients will be available at theatrewashington.org on Tuesday, May 19, 2026.
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