Theater
Signature’s ‘Jesus Christ Superstar,’ Mosaic’s ‘Ulysses’ use story to strong effect
Signature breathes new life into classic rock musical


Nicholas Edwards as Jesus and Ari McKay Wilford as Judas with the cast of āJesus Christ Superstarā at Signature Theatre. It runs through July 2. (Photo by C. Stanley Photography)
āJesus Christ Superstarā
Through July 2
4200 Campbell Avenue, Arlington
$40-114
703-820-9771

Chris Genebach, Matthew Boston and Elizabeth Pierotti in āUlysses on Bottles.ā (Photo by Stan Barouh)
āUlysses on Bottlesā
Through June 11
Atlas Performing Arts Center
1333 H Street NE
$15-60
202-399-7993 ext. 2
Since seeing Signature Theatreās āJesus Christ Superstarā last week, Iāve been humming āI Donāt Know How to Love Him,ā Mary Magdaleneās moving ballad about her complicated relationship with Jesus. Yes, itās one of the best and most covered songs from the iconic rock operaās familiar score by Andrew Lloyd Webber (music) and Tim Rice (lyrics), but itās Natascia Diazās breathtaking rendition at Signature thatās responsible for the current earworm.
Accompanied mostly by two acoustic guitars, she makes the song her own. Diaz is that actor who can both sing and act a song exquisitely. And here sheās absolutely terrific as the prostitute turned apostle whose intense love for her spiritual guru manifests as both a joy and a quiet torture.
When āJesus Christ Superstarā opened on Broadway in 1971 it was noted for its contemporary take on the Gospels. An account of the last week of Jesusā life focusing on his tetchy relationship with disciple Judas Iscariot, the sung-through musical ends with the crucifixion. Staged by Joe Calarco, Signatureās production doesnāt have a particularly revolutionary feel, but what the out director conveys so well is the enduringly divisive effect of religion, money and power. He interestingly emphasizes the concept of the Word with all of Jesusā followers carrying black books, their conduit to a new way of living.
The rock score, played by an off-stage, hard-driving, seven-person band led by musical director William Yanesh, gives the talented ensemble an opportunity to shine with āWhatās the Buzz,ā āHosannaā and more. Standout moments include Nicholas Edwardsā very human Jesus grappling with his fate in āGethsemaneā and Awa Sal Secka adding shades of powerful gospel with āSimon Zealotes/Poor Jerusalem.ā
Luciana Stecconiās elegant white cruciform set is beautiful in its simplicity. Images reminiscent of Jerusalemās Old City architecture, segments of Renaissance art depicting the Last Supper and later contemporary images of all that ails the world today are projected on its bare walls. Further heightening the experience is Jason Lyonsā emotive lighting thatās at once striking yet not showy.
But the usually faultless Frank Labovitz serves up some confusing costume design ā garments appear to have been pulled from a grab bag of not-great street clothes, and the result adds little. There are a couple exceptions. Out actor Bobby Smith is handsomely suited up as a smooth Pontius Pilate and Diazās Mary makes sense in flattering basic black.
Thereās another Holy Land-set work in town. Mosaic Theater Company is kicking off its Voices From a Changing Middle East Festival marking 50 years of the Occupation with Israeli playwright Gilad Evronās āUlysses on Bottles.ā Itās the account of an Israeli-Arab ex-teacher, nicknamed Ulysses (Michael Kevin Darnall), who attempts to sail into Gaza on a raft made of plastic bottles, bearing with him a cargo of Dostoyevskyās āCrime and Punishment.ā He never makes it.
Arrested en route, Ulysses returns to Israel where he must face charges. An Israeli-Jewish lawyer Izakov (Matthew Boston) agrees to take on his case pro bono and from there the menās two very different worlds intersect. Itās a universal tale told with sympathy and humor. The cast includes out actor Sarah Marshall as an Israeli army secret service agent, Liz Perotti, and Chris Genebach.
Winner of Israel Theater Prizeās Best Original Play in 2012, āUllyses on Bottlesā was inspired by real-life events.
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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