In need of a little cheer? Fortunately, there’s a fix. The DMV boasts a wealth of holiday-themed theater, music, and dance guaranteed to lift spirits and warm hearts. Here’s a sliver of what’s out there. 

Arena Stage invites audiences “to step back into the holiday spirit with the joyful return of ‘Step Afrika!’s Magical Musical Holiday Step Show’ (Dec. 13-22) where the rich tradition of African-American stepping blends with the magic of the season.” DJ Nutcracker and his Arctic friends promise to amplify the festive atmosphere. Arenastage.org 

Looking for a new way to experience a Christmas favorite? With the Kennedy Center’s “Elf in Concert: Film with Live Orchestra” (through Dec. 1), you can relive the endearing comedy on a giant screen as every note of John Debney’s wonderful score is played live by the National Symphony Orchestra. 

Another Kennedy Center holiday treat is “Finn” (through Dec. 22). From Chris Nee, the out creator of TV’s “Doc McStuffins” and “Vampirina,” “Finn” is filled with vibrant sea creatures and catchy tunes. Hilarious and heartening, this world premiere musical chronicles the coming-of-age journey of a young shark following his dreams. Kennedy-center.org 

For those in search of yuletide camaraderie and keyboards, there’s the National Cathedral Christmas Day Organ Recital (Dec. 25), a tradition featuring festive music performed (at the Cathedral) by Cathedral organist Thomas Sheehan, and organ scholar Ariana Corbin. Tickets not required. Livestream available.  Nationalcathedral.org

At Baltimore Center Stage, ArtsCentric’s production of “Black Nativity” (Nov. 30-December 22) uses a fusion of blues, soul, jazz, spirituals, dance, and the powerful words of gay poet Langston Hughes, to tell the Christmas story through a wide-ranging African-American lens. Centerstage.org

For one night only, the Music Center at Strathmore in North Bethesda presents “A Swingin’ Little Christmas!” (Dec. 4), a nostalgic, Christmas kitsch cabaret featuring out TV star Jane Lynch (“Glee,” “The Marvelous Mrs. Maisel”), alongside Kate Flannery (“The Office”), Tim Davis (“Glee’s” vocal arranger), and The Tony Guerrero Quintet. 

The following night, Dave Koz and Friends celebrate the 27th anniversary edition of the longest running jazz-based Christmas tour at Strathmore on Dec. 5. Koz, a longtime out musician (primarily sax), has released eight holiday albums, including his most recent, “Christmas Ballads.” Strathmore.org

Round House Theatre presents the world premiere of “A Hannukah Carol” (through Dec. 29). The family-friendly musical comedy tells the story of millennial influencer Chava Kanipshin who in pursuit of more followers, shuns family, friends, and holiday traditions. But on the first night of Hanukkah, Chava is visited by the ghost of deceased social media star Mimi Marley and other spirits who warn her to change her ways — or live to regret it. Roundhousetheatre.org. 

Historic Ford’s Theatre again presents “A Christmas Carol” (through Dec. 31), a popular Washington tradition for decades. Conceived by Michael Baron, this dynamically staged take on the Dickens’ classic features Craig Wallace as the miserly Scrooge who after a night of ghostly visits, rediscovers Christmas joy. In case you haven’t seen it, do. Fords.org 

At Olney Theatre, award-winning out actor Michael Russotto is stepping into the shoes of Paul Morella to star in this year’s edition of Morella’s celebrated solo adaptation of “A Christmas Carol: A Ghost Story of Christmas” (Dec. 29). Russotto portrays more than 50 characters, from the miserly Scrooge to the haunting spirits, to the entire Cratchit family, including, of course, Tiny Tim. Olneytheatre.org

The adage that music can transport you to another time with just a couple of notes proves true at the Folger Library where Folger Consort, the estimable early music ensemble-in-residence, marvelously upholds a glorious Washington holiday tradition with “A Mass for Christmas Eve: Baroque Music for the Season” (Dec. 6-15). Folger.edu 

In Falls Church, Creative Cauldron presents “Madeline’s Christmas” (Dec. 6-22), a charming show based on the classic book by author and illustrator Ludwig Bemelmans. It’s Christmas Eve and taking care of 11 flu infected little girls and Miss Clavel isn’t easy, but when Madeline finds help from a magical rug merchant, all that’s miserable is brushed away, and the girls embark on an unforgettable Christmas journey. Matt Conner directs. Creativecauldron.org

The Washington Ballet’s “The Nutcracker” at the glittering, gilded Warner Theatre (through Dec. 30). Featuring Tchaikovsky’s instantly familiar music and splendid choreography by Septime Weber, this Georgetown circa 1882-set production features historical figures ranging from George Washington to King George III, along with the usual suspects like children, rats, fairies, and a mysterious godfather. Washingtonballet.org

The Gay Men’s Chorus of Washington is back with its annual holiday extravaganza “The Holiday Show” (Dec. 4, 14, and 15) at Lincoln Theatre. This year’s uplifting lineup includes eclectic songs with exciting rhythms and beautiful harmonies, and features the high-kicking, bedazzled 17th Street Dance as well as small ensembles and the GenOUT Youth Chorus! Songs include “See Amid the Winter’s Snow,” “Feliz Navidad,” “Love is Christmas,” and “Silent Night.” Gmcw.org

‘Summer, 1976’
Through Dec. 22
Studio Theatre
1501 14th St., N.W.
$40 – $95
Studiotheatre.org

No one is just one thing.

That’s a sometimes-forgotten point made quickly and succinctly in David Auburn’s memory play “Summer, 1976.” 

Now at Studio Theatre, the thoroughly satisfying two-hander tracks the unlikely friendship of Alice (Holly Twyford) and Diana (Kate Eastwood Norris), two very different women who meet as young mothers during the Bicentennial summer.  

Diana, an educator and artist, is the gimlet-eyed observer. She makes speedy, decisive judgments ranging from knocking Alice’s middlebrow summer reading (bestsellers “Shogun” and “Coma”) and impossibly messy house to negatively noting her little girl’s incessantly runny nose and even her name – Holly.  

Conversely, Alice is a laid-back stay-at-home mom, spending the summer sunbathing in the backyard, watching her daughter splash in the kiddie pool while Merle, a reportedly cute but unseen grad student, paints her house. Inside, husband Doug (also unseen) an economics professor at Ohio State, toils at his desk in hopes of securing tenure in the fall. 

It’s the women’s young daughters who bring them together. During a play date at Diana’s studiously tasteful home, uninhibited Alice boldly pulls out a joint, and Diana enthusiastically joins in. As the girls play, the women bond over weed and Diana’s delicious leftover cassoulet. Alice is impressed. At this point it seems there is nothing Diana can’t do well. 

Phone calls and visits ensue. They talk about life, art, and relationships. Alice makes it clear that she’s read Virginia Woolf and George Eliot, etc.; she knows good literature. In fact, she was immersed in it before leaving school to marry her husband. In turn, Diana comes out as a single mother buoyed by family money. Her job isn’t particularly prestigious, and all of her paintings remain unfinished. 

For them, that famous summer can be marked by a series of events: there was the memorable kids’ first play date, a trip to Cleveland to buy a piece of furniture, Diana’s vicious migraine, and various fireworks displays and parades. But the burgeoning relationship takes a turn when one of the women asks the other whether she’s happy. While the loaded inquiry doesn’t kill the friendship, it definitely has a chilling effect. 

Auburn, who’s best known for “Proof” — the Pulitzer- and Tony-winning family drama that explores the relationship between brilliance and madness — offers up a real examination of friendship, particularly women’s friendships at a time when the culture was changing rapidly. 

The two characters recall and live the moments with alternating monologues and dialogues. Sometimes it feels as if there are more than two actors on stage. For instance, with just a slight change of voice and posture, Norris briefly slips into the role of Doug. Like everything about this production, it’s done with subtlety and skill. 

Ever so capably staged by Vivienne Benesch (making Studio debut) with a superbly selected cast, the play is a pleasure to experience. Twyford and Norris, equally adept at comedy and drama, hold the audience’s rapt interest for 90 minutes of intermission-less nonstop talk. 

And the design team is a dream. Set designer Lee Savage’s elegant vision includes a raised circle of parquet flooring, a pair of Breuer chairs and block end tables, all in a medium brown wood that suggests the 1970s. Backing the stage is a wall of wooden squares, the perfect surfaces for Stefania Bulbarella’s projections of modern, painterly colors. 

With “Summer, 1976,” out actor Twyford returns for her 14th show at Studio and marks her ninth collaboration with Norris. An outstanding past production featuring the pair comes to mind — Folger Theatre’s “Mary Stuart” (2015), another memorable piece in which characters are defined by both differences and shared dissatisfactions. 

Near the play’s end, Alice and Diana meet by chance at a 2003 Klee retrospective in New York. It’s a little wistful but nothing overwrought. It’s a moment for the characters and the audience to measure friendships lost and found. 

‘Dance Like There’s Black People Watching’
Through Dec. 22
Woolly Mammoth Theatre Company
641 D St., N.W.
$40 – $83
woollymammoth.net

The Second City, Chicago’s famed improv proving ground, makes a timely return to Woolly Mammoth with “Dance Like There’s Black People Watching,” a humor-loaded and sharp show especially tailored to D.C. 

Breon Arzell who’s Black and gay, has been a part of Second City and “Dance Like There’s Black People Watching” since 2022, first as choreographer and now as both cast member and choreographer. He says although the show is highlighting Black culture, it’s geared for everyone. In short, “if you don’t know about [Black culture], learn about it; and if you’re a part of it, come celebrate with us.” 

He adds, “There are some things Black audiences will instantly get and appreciate more. But there’s something for everyone to enjoy. It’s rooted in joy and comedy.” 

Performed by six talented and versatile Black actors, the show consists of sketches derived from improvisation, audience participation improv, monologues, songs, and rap solos. 

As the title suggests, Arzell’s choreography is a vital part of what’s happening on stage, too. The dance (inspired by TV’s “In Living Color” and its unforgettable Fly Girls) peppers the show’s 90 minutes with bursts of backup and transitional moves. 

“Dance Like There’s Black People Watching” was created and premiered in Chicago, and it was “very Chicago,” says Arzell, adding “there were some references that wouldn’t have worked here, so we slotted in some D.C. specific things including political references and there’s a cast member [Julius Shanks II] who’s currently in his senior year at Howard University. He shouts out the school.” 

It’s opening in D.C. at an undeniably hot time, and there’s no guarantee that election results will be settled anytime soon. Arzell says, “We know nothing will be wrapped up neatly with a bow. We have contingency plans depending on how things go and how that might play into the material.” 

Any queer aspects to the show? “Oh, it’s so gay in a lot of ways,” he says without hesitation. “I don’t shy away from queerness at all and I make sure it’s infused in my character work.”

For instance, during songs he changes lyrics, mostly pronouns, and intention. Also, his costuming is gender fluid and close to his preferred real life masc-femme style. 

And his funniest bit? He says it’s his praise dance, “a good old Black church moment. It’s very fun, comes out of nowhere, and audiences love it.”

While based in the Windy City, Arzell, 41, is no stranger to Woolly Mammoth. In both 2022 and 2023, he memorably acted in “Ain’t No Mo’” and “Incendiary,” respectively. 

“I’m an actor first and foremost,” he says. “I was a theater major in college [Miami University in Oxford, Ohio] but choreography sort of just happened to me. I’ve always had an affinity for movement. As a kid growing up in Detroit, it was me dancing in front of the TV doing a little show for company. I was that little chubby Black kid. 

Watching videos when MTV actually was music television, he learned to dance and developed a vision. Now with regard to professional employment, choreography is on par with acting. His “absolute jam” is acting in a show that he’s also choreographed. 

Beyond the comedy and the fun, says Arzell, are the perspective and inclusiveness that come with the work and its troupe of players. 

“As Black people we’re not a monolith; there’s not a specific way to operate as a Black person in this world. And the same goes for queer people. 

“At Woolly, you’ll see the full spectrum of Blackness and queerness represented.”