So in love with Al Green at Wolf Trap

The Rev. Al Green at Wolf Trap/By Patricia Leslie

He may be heavier and not as lithe on his feet.  He may have a little less energy, but his voice has not changed, still that unmistakable Al Green sound, strong and able to hit the high notes for minutes at a time, and he is 66 years old. 

The Rev. Al Green at Wolf Trap/By Patricia Leslie

Al performed for a little over an hour at Wolf Trap to the cheers and delight of the sold-out crowd who came to hear the legend, and no one nearby expressed disappointment that the star of the night did not return for an encore. 

Compared to his visit four years ago at Wolf Trap, it was a tamer audience Friday night, not one to shake a tail feather too much in the aisles, but still enthusiastically in love and happiness with the man and his music.

"I sing because I am happy," he told his adoring fans, and he seemed glad to be there.

One of Rolling Stone's 100 Greatest Artists of All Time, Al sang the hits the fans came to hear (Take Me to the River, Love and Happiness, I'm Still in Love With You, Let's Stay Together, Tired of Being Alone), adding a blended medley of Roy Orbison (Pretty Woman)  and Otis Redding (I've Been Loving You Too Long).

The people joined in for many of the numbers and often sang a cappella without the entertainer, to the chagrin of some guests who came to hear him and not the throng. 

"I've had my ups and downs," Al told the crowd, but "God has been good to me!" He often gave thanks to the Lord which he does regularly in Memphis where he is a pastor at the Full Gospel Tabernacle, not too far from Graceland.

Al's backup crew of three females in sedate outfits strengthened his sound, and two male dancers, dressed identically and frequently changing costumes, added visuals.  There are no scantily-dressed performers on Al's stage. 

 Backup singers for the Rev. Al Green at Wolf Trap/By Patricia Leslie

He wore a white shirt and jacket (which he removed and put back on three times) and throughout his performance picked up long-stemmed red roses from the keyboard top which he cast to the ladies who were lucky enough to get seats up close.  We're still in love with you, Al.

The Rev. Al Green at Wolf Trap/By Patricia Leslie

The Rev. Al Green at Wolf Trap/By Patricia Leslie

The Rev. Al Green at Wolf Trap/By Patricia Leslie

The Rev. Al Green at Wolf Trap/By Patricia Leslie

 

The evening started right with the incredible, Grammy award winning Taj Mahal, age 70, who played his own sexy brand of blues which combines zydeco, Reggae, and African sounds. 

Taj Mahal at Wolf Trap/By Patricia Leslie

 

Taj Mahal at Wolf Trap/By Patricia Leslie

 

patricialesli@gmail.com

 

Rocking out with The Rev. Al Green !

If you like only two notes of Al Green's music, you won't be hurting to rush, rush to his nearest concert. What a stupendous, captivating, magnificent show The Rev. Green gave at Wolf Trap Tuesday night.

The Washington Post story by J. Freedom du Lac pretty well ignored the reaction of the crowd and the pure delight we experienced with nonstop dancing at our seats and in the aisles at what was likely a sold out show.

We rocked, we danced, we clapped, we swayed to the beat, we sang along, we threw our hands up in the air. Seats? Not needed.

The music! Goodness gracious! We sang along with most everything, and Al and the crowd didn’t seem to care since his voice was so loud and melodious it wiped ours out: “Love and Happiness,” “Let’s Stay Together,” "Here I Am," other big ones; a dash of Otis, the Four Tops, the Temptations, and some new ones from his latest album, “Lay It Down.” Oh, my.

The mood and sounds of the combination of the happy, enthusiastic crowd and The Rev. Green singing “Amazing Grace” is too difficult for me to describe. I’ve got to rush out and get his gospel recordings before they sell out.

If it can be believed, The Reverend's voice is better than decades ago, and he can still reach those way high notes and hold them forever.

A tuxedo, the Post said? Not the traditional tuxedo you might expect from the word but a fancy three-piece suit, with vest, lavender shirt and matching tie.

Throughout the evening, the Rev. Green frequently took off the jacket, only to put it right back on. He came out in long white (nylon?) gloves which he kept on for about a third of the performance before he threw them out to the crowd. He wore sunglasses which he never removed.

And the roses! Has anyone told you about the roses? All night he threw out long-stemmed red roses to the females close to the stage. And kissed some of the adoring women. (The terrific photo by Richard Lipski in the Post story is worth a look.)

His band included two female vocalists, three men on electric guitar, an organist, a pianist on electric keyboard, two horns, one sax player, and two percussionists. That this was an entourage from a minister was obvious since the females wore no skimpy, revealing costumes but dull suits with pants. You would have thought they were lively K Street types.

The two dancers on stage were young males who perfectly performed their choreography synchronistically and often changed outfits.

The Rev. Green frequently moped his brow, and the perspiration twinkled in the lights and in the night, much like the stars in abundance on the heavenly night.

The evening began right on time with a 45-minute set by jazz, blues, and folk guitarist and composer Amos Lee, a former elementary school teacher, who was interviewed this morning on NPR's Weekend Edition by Scott Simon.

Seal ignites Wolf Trap

Seal at Wolf Trap/Patricia Leslie

If you missed the fireworks last week on the Mall, there were more out at  Wolf Trap Tuesday night.

Yeah, he was that good.

And he had nice things to say about D.C., being that we don't hear too many nice things, infested with politicians and junkies like we are.

Seal at Wolf Trap/Patricia Leslie

"You are a great, great audience" he shouted repeatedly.  "I love to come here, because this region is so diverse! The nation’s capital!  Just look at you!"  he shouted to cheers.  “You’re a great mix!”

Seal at Wolf Trap/Patricia Leslie

The crowd of young, old, black, white was totally enraptured by Seal who performed straight for almost two hours without intermission, without any other singers breaking up his delivery.  Plus he knew exactly what to wear in Vienna, Virginia: solid black   (Like he might wear something else?) 

 

Seal at Wolf Trap/Patricia Leslie

He danced, hopped, skipped, gyrated, and jumped across the stage all night, up and down, across and back, putting the moves on the music and thrilling us all and frequently grasping the extended hands of the fans who hung on the stage rim, wanting to make permanent contact, but he pulled none of them up to join him like some expected, and that was quite all right.  He was Seal.

Sorry, honey, not tonight/Patricia Leslie

So many of the pieces he sang seemed devoted to Heidi, at least to the fans, and we probably thought of her more than he did, but he began the concert with "Tonight we're going to forget about whatever it is that's been dragging us down" because this is "the here and the now!" 

And later:  "The beginning of the year was not so good, but I am happy now!"  (New girlfriend?)

Seal at Wolf Trap/Patricia Leslie

He sang his biggies and some Al Green, too.  (Al's coming to Wolf Trap on August 24, and darecity we hope the president will come and sing a duet with Al? Please, please, please...)

Seal at Wolf Trap/Patricia Leslie

One thing is for certain:  Seal never has to worry about weight.  One woman said she just came to check him out and see what all the fuss is about.  "And he can sing, too?"  she gasped. 

Seal at Wolf Trap/Patricia Leslie

With those undulating movements he reminded another woman of a male stripper who keeps his clothes on.  Too bad.  I don't suppose the Wolf Trap neighborhood would dig a strip tease out in their neck of the woods too much.

Seal at Wolf Trap/Patricia Leslie

Macy Gray was the first act, and she started off the evening with that sultry voice just before 8 p.m. wooing the audience with her style and tunes.  She may be the most talkative entertainer to the audience there is, and there's nothing wrong with that.  One of her songs was like a slowly-spoken poem with a single instrument playing in the background, but aren't all songs poems? 

“This ain’t no library,” she bellowed.  “Get up and move!”  We did.

Macy Gray at Wolf Trap.  Her band wore lighted hats, ties, or jackets/Patricia Leslie

A back-up singer for Macy Gray, Shameka?/Patricia Leslie

Just before the concert began, a heavy, longlasting downpour drenched the yard folks and  many "in house," too, but the sheets of rain could not/would not dilute the crowd's pure enjoyment and enthusiasm, and no one left, but stayed to dance in the aisles, listen and sing and throw hands in the air and sway with the tunes.

It was a good time!  It was a great time.  You didn’t even need a date to bust a move and shake a tail feather. And that’s what it’s all about, isn’t it?  Or why did you go?

After the concert a woman walked barefoot across the parking lot and when asked if she had lost her shoes during the storm on the hillside she said no.  She left her high wedges in the car, she said, after she realized she wouldn't be able to walk in them to the performance.  Despite sore feet, she was happy, grinning broadly, like everyone else going home after a night with a lightning streak at Wolf Trap. 

Seal's stage at Wolf Trap/Patricia Leslie

patricialesliexam@gmail.com 

Be'la Dona rocks the Kennedy Center

Be'la Dona last week at the Kennedy Center's Millennium Stage/Patricia Leslie

One of the free 6 p.m. performances at the Kennedy Center's Millennium Stage last week was by Be’la Dona, D.C.'s own "homegrown" all-female band whose members can shake a tail feather, yes they can!

Dance and jive, yes!

Be'la Dona last week at the Kennedy Center's Millennium Stage/Patricia Leslie

I know I shed about 500 calories just watching them, and all I did was clap and throw my hands in the air.  I didn’t even stand up and get out on the dance floor like the white-haired white guy in the yellow shirt up front who thought he was part of the act, too.  But he produced a lot of laughs and applause with his show inside a show. 

An audience member who became part of the Be'la Dona show at the Kennedy Center's Millennium Stage/Patricia Leslie

Despite his participation, it did take a while for the singers and musicians to get the rest of the KenCen audience "going" in the spirit of things, but "going," it finally did.

It was the first Millennium production I've seen where the performers left the stage to go down into the audience and try to coax the crowd into a boogie. It was like rolling a wagon through a mountain of molasses, but then the people finally got into it

Said one of the leaders right at the beginning, "This is the Kennedy Center, after all, and we’ve got to be respectful” or something like that. 

The Be'la Dona guitarist was Genevieve Konecnik/Patricia Leslie

One of my favorite kinds of music, gospel, is one of Be’la Dona’s genres, but I didn’t hear any.

What I did hear was mostly loud percussion and vocals, and to my untrained ear, selections were repetitive.  One (maybe more) of the Be’la Dona members used to sing with Mr. Chuck Go-Go Brown, and it was his brand of music I was hoping to hear. (Mr. Go-Go may be 75, but he'll never be old, even when he gets to be 105! Hope he's feeling better.) 

Be'la Dona last week at the Kennedy Center's Millennium Stage/Patricia Leslie

During the production I did pick up a few words which may have been song titles since they were repeated about a millennia:  25 Days, Heartbreak Hotel (not the Elvis version), and Love Will Make You, Oh, So Happy…So Sad (Sing it sister! Not the Al Green version).

Members of Be’la Dona are Rhonda Coe, Wendy Rai Mackall, Genevieve Konecnik, Cherie Mitchell Agurs (maybe relative of John Agurs, manager?), Claudia Rodgers, Tempest Thomas, Shannon Brown, and Karis Hill.  If there's a happier band, I'd like to know who it is.   These ladies in their black and white apparel never ceased smiling broadly throughout their hour-long appearance.

Be'la Dona last week at the Kennedy Center's Millennium Stage/Patricia Leslie

It was surprising at 5:30 p.m. to find plenty of empty seats which I would have expected the hometown fans to have filled, but, by show's end, they had showed up, and it was SRO.

Reminder:  Before 6 p.m. you can get Happy Hour prices at the KenCen's hallway bars. Five bucks will get you beer, crunchy treats and live music.  Who can beat it? Gospel, not necessary. 

A jazzy night at Bethesda Blues

Mary Ann Redmond sings at Bethesda Blues & Jazz Supper Club with Jay Cooley on keys, Paul Langosch, bass, Danny Leonard, guitar, and Dave Mattacks, drums/Photo by Patricia Leslie

Bethesda Blues and Jazz sold out last weekend when Mary Ann Redmond and her party of four entertained non-stop for more than 90 minutes.

The audience purred right along with practically everything Redmond put out, and one had the feeling that most there were already fans. 

Before he turned them loose, Bethesda Blues owner Rick Brown came out on stage to thank the audience for coming, and announced his club has surpassed 100,000 in attendance since it opened in 2013 after an $8 million renovation. 

For some reason Ms. Redmond opened the show with a lacklustre "Come Rain or Come Shine," and if you weren't familiar with her music, you might have thought you were in for a loooong night, but that impression was not to last.

Soon afterwards, the entertainment took off, and all the players became stars.

Mary Ann Redmond sings at Bethesda Blues & Jazz Supper Club with Jay Cooley on keys, Paul Langosch, bass, and Danny Leonard, guitar/Photo by Patricia Leslie

For a while it was keyboardist and magical arranger Jay Cooley who stole the show, then Paul Langosch on bass took the limelight, then it was master e-guitarist Danny Leonard's (unannounced before show time) turn to shine.

Jay Cooley at Bethesda Blues & Jazz Supper Club/Photo by Patricia Leslie

No, wait, there was drummer Dave Mattacks who's played with Sir Paul McCartney, Jethro Tull, Elton John (to name a few) and he stole the show. 

They were all show stealers, professional and incredible to hear all making music for the vocals of Miss Redmond who sings pop, jazz, soul, you name it, with some bossa nova thrown in.

Mary Ann Redmond sings at Bethesda Blues & Jazz Supper Club with Paul Langosch, bass, Danny Leonard, guitar, and Dave Mattacks on drums/Photo by Patricia Leslie

Her soul sounds are something akin to Aretha Franklin.   (Has anyone ever called her a "white Aretha Franklin"?) A fan certainly hoped her sexy version of Marvin Gaye's "Ain't That Peculiar," set at a slower pace, is on one of her albums, and her low, guttural meows unlike any I've heard, made perfect for Peggy Lee's "Fever," a huge hit with the audience, like most everything Redmond sang.

Several numbers arranged expertly by keyboardist Cooley stood out: The Beatles' "Fool on the Hill" and "Can't Buy Me Love," Ray Charles' "Unchain My Heart," Al Green's "Let's Stay Together," and the Supremes' "Stop in the Name of Love."

Near the end, swaying fans stood in a chorus line, arms wrapped around backs to listen.

Jay Cooley on keys and Paul Langosch plays bass at Bethesda Blues & Jazz Supper Club with Mary Ann Redmond/Photo by Patricia Leslie

When the lights dimmed and the quintet left the stage, the whoops and applause from the audience soon brought the musicians back for one of Redmond's biggest hits, "Love Me Anyway" which she co-wrote with Todd Wright.  It's  sold three million copies.

If Redmond ditched those heavy office glasses and wore a sexy, sparkly number with red Dorothy shoes, and a mean boa to throw around, she'd give the men something to look at besides the funeral black outfit she had on like she was going to be whisked away after the show to a memorial service somewhere. 

The performers' apparel overall was pretty drab (like a bunch of academicians'), saved by the lighting designer which brought some life to the visuals.  (Music is not totally what you hear. Tones and emotions set the stage, too.)

The crowd sounds from the lobby bar occasionally drifted in to the concert venue during pauses, but everyone was having a good time, and that's what it's all about, Alfie.

Coming up: 

Friday, Jan. 23, Be'la Dona, $20, dance night, doors open at 6 p.m.

Saturday, Jan. 24, Carl's Rare Roast Beef Band, $10, theater seating only since it's dance night beginning at 8 p.m.

Where: Bethesda Blues and Jazz Supper Club, 7719 Wisconsin Avenue, Bethesda, MD 20814

How much: See prices online.

Future shows: Please check out the calendar.

For more information: 240-330-4500

Getting there: The Bethesda Metro station is about 1.5 blocks away, and parking is below the building (free on weekends). See directions.

To read about past shows, please click Bethesda Blues & Jazz Supper Club.

patricialesli@gmail.com

Emmylou Harris sings praise at Wolf Trap

Emmylou Harris with the Red Dirt Boys at Wolf Trap/Patricia Leslie

When she introduced her song about Emmett Till Wednesday night at Wolf Trap, Emmylou Harris included praise for President Obama and his family. 

You would have thought it was a Democratic rally, the way the crowd cheered and roared approval. There must have been no Republicans in the sold-out audience since no support for the other side or booing was heard which sometimes happens when the opposition is mentioned. 

But this is Northern Virginia, land of the Democrats who are expected to carry the state in November again, and with a little help from their friends it will likely happen again, but this message is not about politics (well, maybe a little), but about Emmylou Harris and her performance, but she's got a lot of message music, if you know what I mean.

Emmylou Harris with the Red Dirt Boys at Wolf Trap/Patricia Leslie

Not only did she sing about Emmett Till and tell why he is such an important person in American history, but she sang a song she wrote about a dog.  Not a human dog or an "ex," but a real dog, "My Big Black Dog."  In her backyard in Nashville she said she keeps an animal rescue station, so she sang "to all the critters out there."   It was a right mellow tune.  I suppose dogs can be political.

Did you know she got her start in D.C.?  Me neither.  At Clyde's in Georgetown, she said.  And before that she was the high school valedictorian at Gar-Field High School in Woodbridge, Virginia, according to program notes. I imagine those sites have historical markers by now.

I am not familiar with Emmylou's music, just her voice, and therefore recognized none of her tunes, but that didn't make them any less special. 

She started off the evening with a tribute to country music legend Kitty Wells who died July 16 at age 92, singing "Making Believe" which took both artists close to the top of the charts.

When John Starling came out on stage to sing a single number with Emmylou, it was probably the most excited the people got, but it wasn't a Seal or Al Green crowd (coming up) so no one was out of his or her chair whoopin' and carryin' on like what happens sometimes.  About 90% of the audience were senior citizens, over the age of 55, I would guess (and 99.9%, white).

And Emmylou may be 65, but she sure doesn't look it, act it, or sing like it. Her voice is still crystal clear with that Nashville twang, and she needs no back-up from other singers to make it sound strong.  (Cher’s “last” concert tour which I saw in Nashville about 10 years ago was nothing more than costume changes, video, and back-ups to add strength to Cher’s voice.  Emmylou requires none of that.)

Except for a few changes in the colors of the lights when the crew flipped a switch, the stage stood plain and honest.  None of that fancy stuff, clothes change, sparklers or lightning shows, if you please.

Emmylou Harris with the Red Dirt Boys at Wolf Trap/Patricia Leslie

It was shocking earlier in the evening at precisely 7:30 p.m. to hear music wafting up to the bar area, but Emmylou started right on time. Who ever heard of such a thing?  An usher told me the word among the ushers was Emmylou goes to bed early (!), and that's why she preceded John Prine.   Whatever.  Emmylou's first act lasted 90 minutes and made her audience smile, kiss, and dance. What more would you want?

Get on the bus for 'Hello, Dolly!'

                                        Bette Midler in Hello, Dolly!/New York Lifestyles Magazine

Dear Theatre Fans,

Get on the bus*, even for a day, to New York City to see Bette Midler in Hello, Dolly! before she leaves the show in January.

The Divine Miss M is 71 which just goes to show you how young 70 is. (Speak for yourself.)

Hello, Dolly! is Ms. Midler's first leading role in a Broadway musical which earned her this year's Tony Award for Best Leading Actress in a Musical. The show won three more Tonys (Best Revival of a Musical, Costume Design, and Gavin Creel won for Best Featured Actor in a Musical). It was nominated for six more.

Fans, it happened one night in New York (and maybe, more), that some audience members stood up in their seats, cheered, and applauded the performance in the middle of the show.  More than once.  Several times.  That was a first for me. 

I've read Bette Midler's replacement, Donna Murphy, is fabulous, and congrats to Ms. Murphy, but, right now (save Tuesdays and some other dates) it's the Divine Miss M whose spell over the audience is unmistakable. She transmits her magic across the stage and envelopes the spellbound in her rapture. 
  
She loves the role. And so do her fellow actors. The electrical connection between performers and guests is undeniable. Everyone has a good time and joins the celebration, but I don't want to go overboard.

When the orchestra started up, I knew the music must be a recording since the sounds were too perfect for live.  Wrong.  Conductor Andy Einhorn elicits magnificent production by all. But, lest I exaggerate.

Speaking of costumes: Hold your breath for colors and design au spectaculaire.  (Costume designer Santo Loquasto won the Tony.) Folks, it's the 1890s with colors and luxurious costumes to admire. Hats, yellow suits, orange suits, green, you name it.  So many to see!  So many dancers, perfectly in sync (by Warren Carlyle). 

Here's how the Guide to Musical Theatre describes the outfits (which includes orange and yellow suits worn by men!)  

Turn of the century: New York City and Yonkers. Bright, cartoon costumes of the dress and styles of the period. (Ruffled dresses, large hats, parasols, striped pants, vests, spats, waistcoats), shopkeeper smocks, horse costume, green waiter suits with white aprons, floor-length evening dresses, lodge uniform, tights, high-button shoes, parade costumes (police, sports club, dance-hall girls, opera Association etc.), male formal suit and evening cape, "Hello, Dolly" evening dress, sailor dress, traveling clothes

On her website Bette Midler says: “I just want to say that revival is an interesting word. It means that something is near death and it’s been brought back to life. Hello, Dolly! never really went away. It has been here all along. It’s in our DNA. It’s optimism, it’s democracy, it’s color, it’s love of life. It’s hilarity. This is a classic. Come and see it. It’s not just me! This has the ability to life your spirits in these terrible, terrible times.”

More applause is due Ms. Midler for her sponsorship of charities and adoption of highways on the east and west coasts for the Adopt-A-Highway project.


Thank you, Bette Midler and Director Jerry Zaks!

(*My fav bus line is the Vamoose Gold.)

Tickets are here and other places. (Check the Web.)  Better hurry.  Several dates are sold out.

When:  Matinees at 2 p.m. on Wednesdays, Saturdays, and Sundays. Tuesday and Thursday night shows begin at 7 p.m.  Other nights, 8 p.m.  No shows on Mondays and most Sunday eves.  Remember, Ms. Midler does not perform on Tuesday and some other nights. 

Where:  Sam S. Shubert Theatre, 225 W. 44th St., New York City, 10036


Duration:  2 hours and 35 minutes, one intermission 

patricialesli@gmail.com

'Singin' (and dancin') in the Rain' in Herndon

The cast of Singin' in the Rain at NextStop Theatre Company/Photo by Lock and Company

Gotta dance!  Gotta dance! 

He sings and skips and tap dances through the rain water in Herndon, happy and "in love."

Folks, that's real water pouring on his head, just like in the movie!

Applause to the technical director who accomplished this feat  in Singin' in the Rain now playing at NextStop Theatre Company.

The dancing and choreography are the stars in this production, based on the classic 1952 movie with Debbie Reynolds, Donald O'Connor, and Gene Kelly.  

NextStop's show is choreographed by one of its own stars, Robert Mintz, who plays the boyish "Cosmo" in a role which binds the story with his silly antics and smiles while he twirls, hops, and dances across the floor, and he plays trombone. 

Continuing their string of hits at NextStop and other theatres in the DMV are Max Doolittle, lighting designer, and Evan Hoffman, Herndon High graduate, who directs and designed the set.

It's an elevated stage on a stage in this 1920s Hollywood show with colored lights and a massive red curtain which opens from time to time to reveal the backstage and action there: the dressing gowns, ladders, actors conversing, and all necessary accoutrements that go into a big production like this one.

The plot involves a villainess, the screechy, possessive Ms. Lina Lamont (Carolyn Burke) who hangs on to her beau, a Hollywood star, Don Lockwood (Wood van Meter).  Despite her catlike howls (which could be softened a bit), Ms. Burke is a lady of confidence and assurance whose slithery mannerisms effectively exaggerate her character and make her more unlikable.

It works!

Her goal is to make Don succumb to her wiles, despite his affinity for a new girlfriend, the cute, adorable, and innocent Kathy Selden (Morgan Kelleher), who pops out of a cake!

This being the age of transition from silent films to talkies, Ms. Selden's voice becomes Ms. Lamont's who can't talk for screeching.   

Do you get the picture? 

Scene stealers are the constantly smiling and conniving Zelda (Melrose Pyne Anderson), who plays another starlet, and "R.F." Simpson (Duane Monahan) with his powerful, deep d.j. voice who is the studio head, ostensibly calling the shots.

Eight actors dance and sing across the small stage and magically seem to enlarge the floor space. The audience gets a hand in, too.

Sitting in an elevated window overlooking the action is the bouncy music director, Elisa Rosman, who plays keyboards with alternating drummers Alex Aucoin and Glenn Scimonelli. 

Moyenda Kulemeka has designed beautiful gowns and apparel for the times.


The Broadway play, which was directed and choreographed by Twyla Tharp, followed the movie by 33 years and lasted about a year, but Wikipedia says the movie is regarded by some as the best film comedy ever made, and it is listed as the fifth greatest American movie of all time.

If you miss the Herndon show, you can see the film July 10 at West End Cinema. 

Other NextStop cast members are Elizabeth Spikes, Ethan Van Slyke and swings, Suzy Alden and Joseph McAlonan.

Creative staff also includes Hollyann Bucci, assistant director; Kevin Alexander, sound; Laura Moody, stage manager; Amelia McGinnis and Kate York, assistant stage managers; Alex Wade, properties; and Dylan Lambert, choreography assistant.

Until July 1 NextStop offers deep discounts on next season's shows starting at $119 for six performances.  Go here or call 866-811-4111 for information. 

What: Singin' in the Rain by Betty Comden and Adolph Green with songs by Nacio Herb Brown and Arthur Freed

When: Now through June 23, 2019, Thursday through Saturday nights at 8 p.m., Saturday and Sunday matinees at 2 p.m. and a Sunday evening show on June 16 at 7 p.m.

Where: NextStop Theatre Company, 269 Sunset Park Drive, Herndon, VA 20170 in the back right corner of Sunset Business Park, near the intersection of Spring Street/Sunset Hills Road. Right off the Fairfax County Parkway. Lots of great restaurants nearby.

Lighted, free parking: Available near the door.

Admission: General admission tickets start at $40. Buy online or through the box office at 866-811-4111.

Duration: About two hours with one intermission

Rating: G

Refreshments:  Available and may be taken to seats

For more information: 703-481-5930 or info@nextstoptheatre.org

patricialesli@gmail.com