Spring Arts Preview: Performing Arts
By • February 12, 2025 0 518
JAZZ, POP, COUNTRY, ROCK AND HIP HOP
Performers of note coming to Blues Alley include the Vijay Iyer Trio (March 13 and 14), Stanley Jordan (April 10 to 13) and Nicole Henry (May 9 to 11). On The Kennedy Center calendar this spring: “Jason Moran & Friends” (April 24) and this year’s NEA Jazz Masters Tribute Concert (April 26).
February’s notable pop, country and rock performers include Kelsea Ballerini at Capital One Arena (Feb. 15), Better Than Ezra at The Lincoln Theatre (Feb. 20), Dropkick Murphys at The Anthem (Feb. 27) and, at The Warner Theatre, George Thorogood & the Destroyers (Feb. 25) and Jason Isbell (Feb. 27 and 28 and March 1).
Later on at Capital One: Mary J. Blige (March 26), Tyler, The Creator (April 1) and Kylie Minogue (April 8). At The Anthem: Kraftwerk (March 16), Franz Ferdinand (April 7), Nick Cave & the Bad Seeds (April 21) and Devo (May 3). And at The Warner: Hwasa (March 25), Trey Anastasio (April 4) and Melissa Etheridge (April 12).
The Ford’s Theatre production of “Sister Act” opens on March 14. Courtesy Ford’s.
Over in Alexandria, The Birchmere’s spring mix includes Robin Trower (March 4 and 5), The Stylistics (March 16), Ladysmith Black Mambazo (March 20), Rufus Wainwright (March 21), Leo Kottke (March 27), Al Di Meola (April 2), Marty Stuart (April 3 and 4), Cowboy Junkies (April 9 and 10), 10,000 Maniacs (April 24 and 25) and the Bodeans (May 10). Local bluegrassers The Seldom Scene will play an album release show for “Remains To Be Scene” (April 13).
On the Wolf Trap calendar: Jim Messina (March 5), Rick Wakeman (March 27) and Max Weinberg’s Jukebox (April 1 and 2). More April notables: “Noochie’s Live from the Front Porch” in The Kennedy Center Concert Hall (April 4) and Youssou Ndour at Strathmore (April 29).
DANCE
Dostoevsky and Valentine’s Day, Perfect Together! Choreographer Helen Pickett and director James Bonas created “Crime and Punishment” to music by Isobel Waller-Bridge for American Ballet Theatre, onstage this weekend in the Kennedy Center Opera House (Feb. 12 to 16).
February’s wealth of dance continues with The Washington Ballet presenting “Vespers” by Ulysses Dove, a world premiere by Jennifer Archibald and “Seasons” by TWB Artistic Director Edwaard Liang in the Kennedy Center Eisenhower Theater (Feb. 20 to 23); Shen Yun in the Opera House (Feb. 20 to March 2); the world premiere of Diana Movius’s “Atlantic Paradox” by her Moveius Contemporary Ballet at the National Portrait Gallery (Feb. 23); “An Asian American Dance Journey” from Dana Tai Soon Burgess at Woolly Mammoth Theatre Company (Feb. 27 to March 1); and, back in the Eisenhower, the Paul Taylor Dance Company (Feb. 27 to March 1).
The Birchmere will host an album release show for “Remains To Be Scene” on April 13.
The dance lineup at the 2025 Atlas Intersections Festival: Glade Dance Collective (Feb. 15), Aerial Ignition (Feb. 15), Furia Flamenca (Feb. 22), Jadyn Brick & Luisa Lynch (Feb. 28), Company | E (March 1), Motion X (March 1), Amber Lucia Chabus (March 2), Capitol Movement (March 2), Moveius (March 7), chitra.MOVES (March 7), Deviated Theatre (March 8), Black Leaves (March 8), Momentum (March 9), Ronnique Antoinette & The Ramdance Movement (March 9), Kalanidhi (March 15) and Elements Urban Dance Collective (March 16).
Often on the road, Step Afrika! will present “Step Classic,” a three-day event “inspired by the legacy of HBCU Classics” at the National Building Museum and the Warner (Feb. 14 to 16).
Coming to Dance Place: Amelia Estrada & Gabriel Mata (Feb. 28), Nejla Yatkin (March 14 and 15), Claire Alrich (March 21 and 22), Orange Grove Dance (April 4 to 6) and Prakriti Dance & Urban Artistry (April 11 and 12).
Later on at the Kennedy Center: Complexions Contemporary Ballet (March 20 to 22) and New York City Ballet, performing “Coppélia” (March 25 to 30), both in the Opera House; and Twyla Tharp Dance (March 26 to 29), Akram Khan Company (April 17 to 19) and Acosta Danza’s “Cuban Ecléctico” (May 1 to 3), all three in the Eisenhower.
TWB’s first season under Edwaard Liang will conclude with his “ALICE (in wonderland)” at Capital One Hall in Tysons (April 24 to 27).
MUSICALS
Based on her memoir “The Bedwetter: Stories of Courage, Redemption and Pee” (am I allowed to write that?), Sarah Silverman’s new musical “The Bedwetter” — with a book she co-wrote with Joshua Harmon, music by Adam Schlesinger and lyrics by her and Schlesinger — is at Arena Stage, directed by Anne Kauffman and choreographed by Danny Mefford (through March 16).
Lin-Manuel Miranda’s “In the Heights,” with a book by Quiara Alegría Hudes, just opened at Signature Theatre, directed by James Vásquez with music direction by Angie Benson (through May 4).
Moveius Contemporary Ballet will give the world premiere of Diana Movius’s “Atlantic Paradox” at the National Portrait Gallery on Feb. 23. Courtesy Moveius.
About to open at Olney Theatre Center: Sara Bareilles’s “Waitress,” with a book by Jessie Nelson based on Adrienne Shelly’s 2007 film. Marcia Milgrom Dodge is the director and choreographer. Music direction is by Christopher Youstra (Feb. 13 to March 30).
Soon to open at The National Theatre: “Shucked,” the Tony Award-winning musical about Maizy (get it?) of Corn Cob County (Feb. 25 to March 2). And April is “Annie” month at the National (April 11 to 20).
Another brainstorm from Jeff Whitty, the guy who came up with “Avenue Q”: a musical based on Sir Philip Sidney’s 16th-century romance set to songs by the Go-Go’s. Adapted by James Magruder, “Head Over Heels” will be at Constellation Theatre Company, directed by Allison Arkell Stockman (May 1 to June 1).
And let’s not forget the shows in the Virginia Burbs, Sticks and Boonies: Roald Dahl’s “Matilda: The Musical” at The Little Theatre of Alexandria (through March 1) and “Footloose: The Musical” at NextStop Theatre Company (you’ve heard of Herndon, I trust) (May 8 to June 8).
THEATER
Perhaps you’re familiar with “Fuenteovejuna” (“The Sheep Fountain,” more or less) by Spanish Golden Age playwright Lope de Vega? No? Then head for GALA Hispanic Theatre in Columbia Heights (through March 2).
Through March 2: Spanish Golden Age playwright Lope de Vega’s “Fuenteovejuna” at GALA Hispanic Theatre. Courtesy GALA.
Later on at GALA: “Érase Una Vez … ¡Y Dos Son Tres!/Once Upon a Time … And Two Are Three!” by Manuel Chapuseaux (March 15 to 29) and the world premiere of “Sucede Hasta en las Mejores Familias/Choke” by Emilio Infante, directed by Rebecca Aparicio (April 24 to May 18).
Fans of Edith Wharton — not to mention Daniel Day-Lewis and Michelle Pfeiffer — will be exited to hear that Arena Stage Artistic Director Hana S. Sharif is directing an adaptation by Karen Zacarias (Feb. 28 to March 30).
No plays by Shakespeare (or whoever wrote them) this spring at Shakespeare Theatre Company, but Artistic Director Simon Godwin will direct Conor McPherson’s adaptation of Anton Chekhov’s “Uncle Vanya” in Harman Hall starring Hugh Bonneville of “Downton Abbey” (March 30 to April 20). Opening next week in STC’s Klein Theatre: “Kunene and the King,” written and performed by John Kani and directed by Ruben Santiago-Hudson, about a South African actor facing the role of King Lear and his own mortality (Feb. 16 to March 16).
D.C.’s other Bardic spot, the Folger Shakespeare Theatre, will present “A Room in the Castle,” Lauren M. Gunderson’s retelling of “Hamlet” from the perspective of its women, directed by Kaja Dunn (March 4 to April 6). Though “Twelfth Night” refers to the Feast of the Epiphany in early January, the Shakespeare play by that name will open at the Folger, directed by Mei Ann Teo, right after Mother’s Day (May 13 to June 22). One more by Will: “Much Ado About Nothing” at The Little Theatre of Alexandria (March 29 to April 19).
Closing soon (Feb. 16): “Downstate” by Bruce Norris at Studio Theatre, directed by Artistic Director David Muse; Heidi Schreck’s “What the Constitution Means to Me,” directed by Morgan Gould at Round House Theatre; and “Guac,” directed by Michael Cotey at Woolly Mammoth Theatre Company, about a father who lost his son, nicknamed Guac, in the Parkland shooting, written and performed by Manuel Oliver and co-written by James Clements.
Closing not quite as soon: “The Garbologists” by Lindsay Joelle, directed by Shanara Gabrielle at Theatre Alliance (through Feb. 23), which will next present “American Fast” by Kareem Fahmy, directed by Reginald L Douglas (March 20 to April 13). And there are a few more weeks to catch “Constellations” by Nick Payne, directed by Nikki Mirza at (fittingly) Constellation, about star-crossed lovers “in a swirling multiverse” (through March 9).
Edgy (in most cases) theater events at this year’s Atlas Intersections Festival: “Eva Mystique” (Feb. 15), “Bright Colors And Bold Patterns” (Feb. 22), “Park Road” (March 1), “Come Along for the Ride: A Journey through Climate Grief” (March 1) and Imagination Stage’s “Paper Dreams” (March 8 and 9).
Next up at Woolly Mammoth, the home of fascinating titles: “It’s a Motherf**king Pleasure,” written and performed by disability-led theater company FlawBored (March 6 to 30); then the world premiere of “Akira Kurosawa Explains His Movies and Yogurt (With Live & Active Cultures!)” by Julia Izumi, directed by Aileen Wen McGroddy (May 4 to June 1).
More from Studio: “The Scenarios” a world premiere by Matthew Capodicasa, directed by Tiffany Nichole Greene (Feb. 26 to April 6); and Dominique Morisseau’s “Paradise Blue,” directed by Raymond O. Caldwell (April 30 to June 8).
“Kneecap,” directed by Rich Peppiatt, will be screened on Feb. 27, opening night of the 2025 Capital Irish Film Festival, presented by Solas Nua.
Signature Theatre Artistic Director Matthew Gardiner will direct “Job” by Max Wolf Friedlich — not the Old Testament Job, but a job as in what you do for a living, and where, in this case, you have a breakdown (through March 16).
At Theater J in the Edlavitch Jewish Community Center, José Rivera directs his tragicomedy “Your Name Means Dream” (March 12 to April 6).
Synetic Theater co-founder Paata Tsikurishvili will direct “The Immigrant,” based on the 1918 silent comedy (March 14 to 23 at Arlington’s Thomas Jefferson Community Theatre; April 11 to 27 at Theater J).
Back out in Maryland at Olney Theatre Center: “Sleepova” by Matilda Feyiṣayọ Ibini, directed by Paige Hernandez, about four Black British teens (March 26 to April 27).
At Olney’s Montgomery County neighbor, Round House Artistic Director Ryan Rilette will present the world premiere of “Bad Books” by Sharyn Rothstein, in which the mother of a troubled teen confronts the local librarian about access to a controversial book. Kate Eastwood Norris and Holly Twyford star. Guess who plays who … (April 2 to 27)
Based at the Atlas Performing Arts Center, Mosaic Theater Company will present “Cullud Wattah” by Erika Dickerson-Despenza, directed by Danielle A. Drakes, dealing with the Flint water crisis (April 3 to 27).
And now that you’re a familiar face in Herndon, NextStop is presenting Karen Zacarias’s “Native Gardens” (through Feb. 16) and Douglas Lyons’s “Chicken & Biscuits” (March 13 to April 6).
Eric Hissom and Jordan Slattery in Signature Theatre’s production of “Job.” Photo by Christopher Mueller. Courtesy Signature.
Note: Scena Theatre hasn’t announced dates yet for Rainer Werner Fassbinder’s “The bitter Tears of Petra von Kant,” directed by Artistic Director Robert McNamara.
OPERA
In Lisner Auditorium, Washington Concert Opera will present Mozart’s “La Clemenza di Tito” with Tamara Wilson, Edgardo Rocha, Stephanie Doche, Raven McMillon and Meridian Prall (March 1). Verdi’s “Luisa Miller,” with Angel Blue, Kang Wang, George Gagnidze and Morris Robinson, will follow on the final day of the National Cherry Blossom Festival (April 13).
The April 6 Sunday Concert in the Phillips Collection’s Music Room will feature the Doric String Quartet.
In Series Artistic Director Timothy Nelson will direct “Poppea,” the last production of the company’s Claudio Monteverdi trilogy, with choreography by Hari Krisnan. With the Hindu festival of Holi in mind, the opening-night audience is encouraged to wear all white to enhance the effect of the “showers of colored light” at the after-party (March 14 to 16 at Dupont Underground; March 21 to 23 at Baltimore Theatre Project; and March 28 and 29 at St. Mark’s, Capitol Hill).
Opera Lafayette will celebrate Founding Artistic Director Ryan Brown’s 30 years of leadership with a varied program featuring three singers performing with the much-admired chamber orchestra (April 30 at St. Bartholomew’s Church in New York and May 1 in the Kennedy Center Terrace Theater).
Lidiya Yankovskaya will conduct Washington National Opera’s production of “The (R)evolution of Steve Jobs” — score by Mason Bates, libretto by Mark Campbell — with John Moore as Jobs, Jonathan Burton as Woz and Cafritz Young Artist Winona Martin as Laurene Powell Jobs (May 2 to 10). Also in the Kennedy Center Opera House: “American Rhapsody,” a concert performance of works by American composers, the same night as the Opera Gala (May 3).
CHORAL
The Heritage Signature Chorale’s 25th Anniversary Black Composers Concert will take place at First Congregational UCC (Feb. 22).
Upcoming Gay Men’s Chorus of Washington performances: “Heart & Soul,” a Black History Month celebration at National City Christian Church (Feb. 22); and “Passports” at the Lincoln Theatre (March 15 and 16).
At Strathmore, The Washington Chorus and the National Philharmonic will present “Stand the Storm,” a concert highlighting composers “who stand through adversity and enact change” (March 15).
Dame Ethel Smyth’s “Mass in D” will be performed on March 16 by the Cathedral Choral Society with the Baltimore Symphony Orchestra and the Clarion Choir.
The Baltimore Symphony Orchestra and the Clarion Choir will join the Cathedral Choral Society, conducted by Steven Fox, at Washington National Cathedral for a performance of Dame Ethel Smyth’s “Smyth’s Mass in D” and Mozart’s “Meistermusik” (March 16). The same evening, Washington Master Chorale will perform Sergei Rachmaninoff’s “All Night Vigil” at the Church of the Epiphany (March 16).
Also at the Church of the Epiphany, the City Choir of Washington will present “100 Years of Great American Song” (March 23).
Artistic Director Marie Bucoy-Calavan will direct the Choral Arts Symphonic Chorus and the Choral Arts Orchestra in a performance of Haydn’s “Creation” in the Kennedy Center Concert Hall (March 30).
CLASSICAL
A spring highlight of the National Symphony Orchestra season in the Kennedy Center Concert Hall: Tchaikovsky’s unnumbered “Manfred Symphony,” composed in 1885, conducted by Vasily Petrenko, music director of London’s Royal Philharmonic Orchestra. Also on the program: Anatoly Lyadov’s “Kikimora” and Camille Saint-Saëns’s Cello Concerto No. 1, with soloist Edgar Moreau (Feb. 20, 22 and 23). Other highlights, before the NSO heads for Florida: Music Director Gianandrea Noseda conducting works by Debussy and Ravel (March 6 to 8) and Stravinsky’s “Petrushka” (March 13 to 15). Also in the Concert Hall: Julia Wolfe’s “Her Story” with the Lorelei Ensemble (Feb. 27 to March 1).
At Strathmore, the National Philharmonic’s season continues with pianist Brian Ganz playing Chopin for the almost-birthday boy (Feb. 28) and Shostakovich’s Symphony No. 5 (April 5). Two other orchestras perform regularly in the gorgeous North Bethesda hall. The Baltimore Symphony Orchestra, a resident partner, will perform Mahler’s Fourth (Feb. 27) and Beethoven’s Fifth (March 8) with Music Director Jonathon Heyward on the podium. In between, the Annapolis Symphony Orchestra will play works by Beethoven, Bernstein (“Serenade,” with violin soloist Noah Bendix-Balgley) and Ginastera (March 2).
You can catch the Capital City Symphony at the Atlas Intersections Festival (Feb. 22) and performing Mozart’s Piano Concerto No. 20 in D minor with Sophia Lin, 2024 winner of the Ylda Novik Memorial Concerto Competition (March 23).
There is so much chamber music in this town that only a few events can be mentioned. PostClassical Ensemble will perform at the Phillips Collection — which offers a full season of Sunday Concerts — with oboist James Austin Smith (Feb. 16), then present “Beyond The Godfather: The Concert Music of Nino Rota” in the Kennedy Center Terrace Theater (March 18). Back at Strathmore, the Academy of St. Martin in the Fields will perform with pianist Bruce Liu (March 6).
The 21st Century Consort performs in the Hirshhorn Museum’s Ring Auditorium (March 8 and April 12). Smithsonian Chamber Music Society concerts will be presented at St. Mark’s, Capitol Hill (March 16) and at the National Museum of American History (March 29 and 30; April 12 and 13; and May 3 and 4). Two from the Library of Congress’s extraordinary Coolidge Auditorium series: “Music of Anthony Braxton” (March 8) and the Horszowski Trio (April 26).
Wolf Trap’s Chamber Music at the Barns series will feature the Chamber Music Society of Lincoln Center playing sextets by Tchaikovsky (“Souvenir de Florence”) and Richard Strauss and trios by Haydn and Schubert (April 25).
Piano recitals presented at the Kennedy Center by Washington Performing Arts: Seong-Jin Cho (Feb. 18), Clayton Stephenson (March 15), Yefim Bronfman (April 14), Yunchan Lim (April 27) and Evgeny Kissin (May 3). At the Library of Congress: Hélène Grimaud (April 25).
Not to neglect vocal recitals, Vocal Arts DC’s season continues in the Kennedy Center Terrace Theater with Aryeh Nussbaum Cohen and John Churchwell (Feb. 20) and Fleur Barron and Kunal Lahiry (March 14); and the Russian Chamber Arts Society will present a concert of art songs by two Nikolais — Medtner and Rimsky-Korsakov — at the Embassy of France (April 11).
