J. Wynn Rousuck | WYPR

J. Wynn Rousuck

Maryland Morning Theater Critic

J. Wynn Rousuck has been reviewing theater for Maryland Morning with Sheilah Kast since 2007. Prior to that, she was the theater critic of The Baltimore Sun, where she reviewed more than 3,000 plays over the course of 23 years. Her feature coverage for The Sun included a comprehensive series chronicling the development of the Tony Award-winning musical, “Hairspray.” Judy got her start at The Cleveland Press and at Cleveland’s fine arts radio station, WCLV. Her broadcasting experience also includes a year as an on-air theater critic for Maryland Public Television.

A member of the Artistic Advisory Committee of Young Audiences of Maryland, Judy is also a freelance teacher for the Johns Hopkins Center for Talented Youth and the Hippodrome Foundation, Inc. (the Hippodrome’s non-profit partner, which focuses on education and outreach). She was a faculty member at the Eugene O’Neill Theater Center’s Critics Institute in Waterford, CT, for two decades; she is a former National Endowment for Humanities Journalism Fellow; and she was a visiting student at Brown University (2007-2008), under the mentorship of Pulitzer Prize-winning playwright, Paula Vogel. Judy and her husband, Alan Fink, share their home with two dogs, who enjoy hearing their “Master’s Voice” on WYPR.

photo by Richard Anderson

It's Thursday, and that means our peripatetic theater critic, J. Wynn Rousuck, joins Tom in Studio A for our weekly look at the region's thespian offerings.  Today, Judy reviews Shakespeare in Love, the new stage version of the multi-Oscar winning 1998 film that's now on the boards at Baltimore Center Stage.  Adapted by Lee Hall from ​from Marc Norman's and Tom Stoppard’s original screenplay, Shakespeare in Love is a funny, bawdy back-story take on the famous Bard's creative muse, and on the complex relationship between art and love.

Photo by Jim Preston

Theater critric J.Wynn Rousuck joins us in Studio A every Thursday with a review of one of the region's thespian offerings, and this week, she tells us about a new production of Origin of the Species now on stage at Strand Theater Company in Baltimore.

Photo by ClintonBPhotography

It's Thursday, and that means theater critic J. Wynn Rousuck joins Tom with her weekly review of one of the region's many thespian offerings.   Today, she talks about Everyman Theatre's new production of Intimate Apparel, a play that premiered in 2003 at Baltimore's Center Stage.  It's a contemporary work written in classic style by Lynn Nottage, the first female playwright to win two Pulitzers.  

Inspired by a true story, Intimate Apparel centers on Esther (played by Dawn Ursula), a self-employed African American seamstress in turn-of-the-century New York who is working hard - and saving her money - making beautiful undergarments for her well-to-do clientele.  But she dreams of a grander life, while nurturing her fondness for a Jewish fabric merchant (played by Drew Kopas). As an emotionally wrenching turn of events puts Esther’s dreams at risk, the play explores the tenacity of the human spirit against the powerful pressures of class, race and culture. 

The play is directed by Tazewell Thompson.

Intimate Apparel continues at Everyman Theatre through Sunday, November 19th.

Photo by Rosiland Cauthen

It's Thursday, and time for our visit from Midday theater critic J. Wynn Rousuck, who joins us each week with her reviews of thespian offerings from the region's many stages. This week, Judy reviews Yellowman, the award-winning 2002 work by playwright  Dael Orlandersmith, now running at Arena Players.

A finalist for the 2002 Pulitzer Prize Yellowman is a multi-character play -- with just two multi-role actors -- that builds on the memories of an African American woman who dreams of life beyond the confines of her small Southern hometown --and the light-skinned man whose life is intertwined with hers, with an ultimately tragic outcome. 

The play is directed by Rosiland Cauthen, and stars George Oliver Buntin as Eugene Robert Gaines, and Rosey Young as Alma.

Photo by Matthew Murphy, 2017

It's Thursday, and that means our peripatetic theater critic, J. Wynn Rousuck, joins Tom in Studio A to review one of the region's many new stage productions.  Today, Judy's talking about the newly-revived traveling production of the Tony-Award-winning The Color Purple: The Musical, whose six-day run at The Hippodrome Theatre in Baltimore continues until this Sunday, October 22.

Photo by Britt Olsen-Ecker

It's Thursday, and that means our peripatetic theater critic, J. Wynn Rousuck, is back in Studio A with a review of one of the region's many thespian offerings.  This week, Judy joins Tom in a conversation about  Lear, a new production of a 2010 play by Young Jean Lee, now on stage at Single Carrot Theatre.

An artful weave of Elizabethan and modern pop cultures, Lear is a riff, of sorts, on Shakespeare's tragedy, "King Lear," that shows how dysfunctional, selfish and self-absorbed children can still wreak havoc on their elders -- and themselves.  

Lear is directed by Andrew Peters, with costume design by Nicki Siebert.  The play stars Surasree Das as Goneril, Paul Diem as Edgar, Tim German as Edmund, Chloe Mikala as Cordelia, and Elizabeth Ung as Regan.

Lear continues at Single Carrot Theatre through Sunday, October 29th.

Iron Crow Theatre

It's Thursday and that means Midday theater critic J. Wynn Rousuck joins us to spotlight one of the region's thespian offerings.  Today, she talks with Midday senior producer and guest host Rob Sivak about "The Cradle Will Rock," a 1937 "play in music" written by the late Marc Blitzstein that's getting a spirited revival by Iron Crow Theatre, at the Theatre Project, now until Sunday, October 8th.

Blitzstein’s pro-union, anti-capitalist musical was the first ever shut down by the federal government.  It's an allegorical but in-your-face indictment of capitalism and socio-political corruption -- too-familiar themes in today's headlines.  Even as it attacks the wealthy class and the political power it unjustly wields, it also pays homage to the oppressed and the poor, and those struggling to survive. Brechtian in its bold scope and style, The Cradle Will Rock is considered by many critics to be one of the most historically significant works in American theater.

The Cradle Will Rock revival by Iron Crow Theatre continues at The Theatre Project until Sunday, October 8th.

photo courtesy Red Branch Theatre Company

It's Thursday, and that means Midday's theater critic, J. Wynn Rousuck, once again joins Tom in the studio, this week with her review of a new musical production of The Bridges of Madison County, by the Red Branch Theatre Company in Columbia, Maryland.

Based on the best-selling 1992 novel by Robert James Waller (who died this past March at the age of 77), the musical adaptation describes a four-day romantic encounter between Francesca (played by Erin Granfield), a married but lonely Italian housewife in Iowa, and a traveling National Geographic photographer named Robert Kincaid (played by Ryan Burke). 

The sentimental storyline is enriched with a musical score by Tony Award®-winning composer Jason Robert Brown and book by Pulitzer Prize winning Marsha Norman.  The Red Branch Theatre Company production is directed by Clare Shaffer, with music direction by Paige Rammelkamp.

The Bridges of Madison County (which contains adult language and themes) continues at the Red Branch Theatre Company through Saturday, October 14.

Baltimore Center Stage

The Christians, directed by Hana S. Sharif and written by Lucas Hnath, is set in a modern day Megachurch; the play explores what happens when the church's spiritual leader, Pastor Paul-- played by Howard W. Overshown -- stops believing in hell. The production features performances from local choirs including the Greater Baltimore Church of Christ Choir; New Psalmist Baptist Church Choir; and Community Choir of Baltimore Center Stage, a choir convened for this production. Center Stage transformed their theater for this production to look and feel like a church, the audience is invited to participate in the production as members of the congregation. 

Everyman Theatre

Everyman Theatre's adaptation of the Tony Award winning play M. Butterfly stars Vichet Chum as Song and Bruce Randolph Nelson as Rene Gallimard. The Emmy award winning drama written by David Henry Hwang is based on the true story of the French diplomat who had a nearly two-decade affair with a Chinese opera performer and spy. The production is directed by Vincent Lancisi. 

M. Butterfly is at The Everyman Theatre through October 8th.

photo courtesy Hippodrome Theatre

It's Thursday, and that means our theater critic J. Wynn Rousuck joins Tom in the studio with her weekly report on the region's thespian landscape.  

This week, Judy looks ahead to the 2017-2018 season and spotlights some of the local and touring productions slated to grace the region's stages in the coming months, including two notable musicals coming to the Hippodrome:  Sir Andrew Lloyd Webber's sequel to his Phantom of the Opera, called Love Never Dies, and The School of Rock.  

Courtesy of Joshua McKerrow

Today, Midday theater critic J. Wynn Rousuck joins Tom with her review of  Alice and the Book of Wonderland, a new rendition of the classic being produced on stage by the Annapolis Shakespeare Company, in Annapolis, Maryland. Sally Boyett and Donald Hicken adapted Lewis Carroll's whimsical children's novel and gave it a modern twist. Boyett directs the action, which involves a series of absurd Carrollian vignettes that draws the curious young Alice deeper into Wonderland's surreal mysteries.

Photo by Tom Lauer

Midday Theater critic J. Wynn Rousuck joins Tom in the studio every Thursday to review one of our region's current theater productions.

Today, she spotlights Sister Act, a musical based on the 1992 film comedy starring Whoopi Goldberg as a lounge singer who is forced to hide out in a convent, disguised as a nun.  Sister Act is directed by Tom Wyatt at Cockpit in Court on the Essex campus of the Community College of Baltimore County. It will run through Sunday, August 6.

Photo by A. Mains

Midday theater critic J. Wynn Rousuck joins Tom for her weekly review of one of the region's thespian offerings.  

Today, she spotlights Fallout, the play by Laura King that's being staged by Baltimore's Vagabond Players as part of the Baltimore Playwrights Festival.  It's directed by Audra Mains Mullen, and stars Gareth Kelly as David and Ryan Gunning as Anna, two strangers with issues, who seek refuge from an unknown menace in a fallout shelter, a relic of the nuclear holocaust paranoia that raged during the Cold War.  In the tight confines of the shelter, Anna and David wrestle with their inner demons, even as they deal with their terror of what lurks outside.

The Vagabond Players' production of Fallout -- one of just two plays to be fully-staged in this year's Baltimore Playwrights Festival -- runs through Sunday, July 30.  Special Thursday show July 27, 8 pm; Friday and Saturday 8 pm, Sunday 2 pm.

The Vagabond Players is located at 806 South Broadway, Baltimore, MD 21231.
Tickets can be purchased here.

Spotlighters Theatre / Shealyn Jae Photography

Midday theater critic J. Wynn Rousuck joins Senior Producer Rob Sivak in the studio today with her review of the musical Spring Awakening, produced by the Spotlighters Theatre.   It tells the story of a group of 19th century German teenagers trying to discover more about one another and themselves, under the intense scrutiny and repressive control of the adults in their lives.

Seth Freeman

Midday theater critic J. Wynn Rousuck joins Tom in Studio A with her review of the six plays being presented this year at the annual Contemporary American Theater Festival (CATF), now underway on the campus of Shepherd University in Shepherdstown, West Virginia.  The plays' settings range widely - from Amish Country to Nazi Germany - but their stories share common and emotionally  powerful  themes.

Photo by Robert Neal Marshall

Midday theater critic J. Wynn Rousuck joins Tom in the studio each Thursday with her weekly reviews of the region's thespian offerings.  This week, she critiques the new production of The Tempest from the Chesapeake Shakespeare Company

Photo by Britt Olson-Ecker

Midday theater critic J. Wynn Rousuck joins Tom for our regular Thursday focus on the region's thespian happenings. Today, she reviews the Single Carrot Theatre and STEREO Akt world premiere production of Promenade: Baltimore.

Not your conventional stage production, Promenade: Baltimore invites its audience to board an actual bus and travel around the city, passing through neighborhoods familiar to some, and unknown to others. Audience members watch from their bus as actors on the street perform scenes portraying various aspects of life in Baltimore, accompanied by a live-mixed soundtrack of music, narration, and stories inspired by and, in some cases told by, neighborhood residents.  

Know Your Neighbors: A Promenade Post-Show Roundtable, Thursday, June 22, following the 6:30pm performance.  See the Single Carrot Theatre website for details on this and other post-show events.

Promenade: Baltimore continues at Single Carrot Theatre through Sunday, July 2nd.

Photo by ClintonBPhotography

It's Thursday, and that means theater critic J. Wynn Rousuck joins Tom in the studio with her weekly review of the region's thespian offerings.  This week, she's here to tell us about Noises Off, the British farce now playing at Baltimore's Everyman Theatre. 

Everyman’s Resident Company of actors collectively plays a British company of hapless actors in this broad comedy. With their opening night on London’s West End imminent, the company's actors blunder through their rehearsals, and things get worse as the actual play begins.  The cast struggles to control the chaos of lost lines and crossed lovers, and to pull their act together -- for the audience and for themselves.

Noises Off continues at Everyman Theatre through June 18.

Tom previewed Noises Off with Everyman's founding artistic chief and the play's director, Vicent Lancisi, and with Deborah Hazlett, who stars in the role of Dotty Otley...on the May 19 Midday.  To listen to that conversation, click here.

Photo by Dave Iden

Midday theater critic J. Wynn Rousuck joins Tom for her weekly review of thespian doings.  This week, it's the final production of Baltimore Annex Theater's 2016-17 season: The King of Howard Street is an original play based on the life of the formerly homeless Baltimore writer and housing rights advocate, Anthony Williams, who's portrayed in this production by Joshua Dixon.

For more than two decades, Williams lived in abandoned buildings up and down Howard Street. Several years ago, he began to chronicle his life story and the stories of his friends and family. Last year, Williams approached Annex Theater's Artistic Director, Evan Moritz, outside of the theater and handed him three spiral-bound notebooks filled with drawings and writings, including a draft of his autobiographical play.  Inspired by Williams' story, Moritz commissioned playwright Ren Pepitone and director Roz Cauthen to bring this story to a wider audience, and they've done so with a compelling mix of dance, music, and theater.

The King of Howard Street also features performances by Nathan Couser (Insurrection: Holding History) as Saint Lewis, William's right-hand man; Desirae Butler (The Tempest) as McFly; and Jonathan Jacobs  (Tempest, Master and Margarita) as Randall.  The cast also includes Malcolm Anomanchi, Kristina Szilagyi, Christian Harris, Mary Travis, David Crandall (Annex Company Member), and Elaine Foster. Costumes are by Stylz, Set by Bernard Dred, Lighting by Rick Gerriets (Annex Company Member), Sound by David Crandall, and Video by Rachel Dwiggins (Cook, Thief, Wife, Lover and Mary Hartman, Mary Hartman)

Felicia Chapple

It's Thursday, and that means theater critic J. Wynn Rousuck is here with her weekly review of the region's thespian offerings. She joins Tom with a review of Arena Player's Crowns: A Gospel Musical

After 17-year -old Yolanda's brother is shot and killed in Chicago, she's sent down south to live with her grandmother, who is an active and respected member of her church community. Crowns is a show that focuses on African-American church women and as the title suggests, big, stylish, hats play a major role in the musical. The hats are used to convey history, tell the women's stories and to impart social rules.

TiaJuana Rountree gives a standout performance as Grandma Shaw and Khadijah Hameen's singing is nearly show stopping. Crowns, which is inspired by a portrait book of the same name, has been performed all over the country, this is first time it's being performed in Baltimore. 

Photos by Teresa Castracane

It's Thursday, and that means theater critic J. Wynn Rousuck is here with her weekly review of the region's thespian offerings.  Today, she joins guest host and Midday senior producer Rob Sivak with a review of the Chesapeake Shakespeare Company's revival of the 1960 classic musical, The Fantasticks.

The longest-running musical in Broadway history -- and still a perennial favorite of theater companies across the country and around the world -- has a simple, Shakespeare-inspired storyline, at whose heart is a 19 year-old boy and the 16 year-old girl next door. Their controlling fathers scheme to lead the unwitting pair into romance, but the matchmaking goes terribly wrong. The lyrical and sentimental musical, with book and lyrics by Tom Jones and music by Harvey Schmidt, is filled with memorable songs.  The Fantasticks is Chesapeake Shakespeare Company's first musical.  Directed by Curt L. Tofteland.

The Fantasticks continues at the Chesapeake Shakespeare Company through Sunday, May 21st.

Photography by Katie Simmons-Barth

Theater critic J. Wynn Rousuck stops by each Thursday with her latest review of a major stage production. This week, it's "Dorian's Closet," at Rep Stage in Columbia, Maryland.

“Dorian’s Closet” is a new musical getting its world premier at the Rep Stage, that's loosely based on the life of Dorian Corey.  She was a legendary female impersonator who yearned for fame, but who also gained notoriety for a startling discovery made after her death.

The musical chronicles Dorian’s rise in the underground club scene in New York City in the 1980s through her death in 1993. “Dorian’s Closet” is a sobering and inspirational odyssey about the drive to turn dreams into reality. Directed by Joseph Ritsch.  Book & lyrics by Richard Mailman and music by Ryan Haase; choreographed by Rachel Dolan, with Musical Direction by Stacey Antoine.

Dorian's Closet continues at Rep Stage through Sunday, May 14.

Photo by Stan Barouh

It's Theater Thursday on Midday, and that means our theater critic, J. Wynn Rousuck, joins Tom with her weekly review of the region's thespian offerings. This week, it's The Magic Play, the latest work of 2015 Helen Hayes Award-winner Andrew Hinderaker (Colossal). He returns to the Olney Theatre Center with another unique story combining passionate theatricality with a touch of genuine theater magic.

Brett Schneider plays a talented magician (like himself) who has won acclaim by maintaining absolute control over his performances. He has tried to do the same with his love life, but when his lover forces him toward some painful emotional reckonings, it threatens even his confidence as a magician. Hinderaker's play weaves a tale of emotional conflict and sleight-of-hand wizardry.

The Magic Play is directed by Halena Kays, with magic created by Brett Schneider.  Jim Steinmeyer serves as magic consultant.   Also in the cast are Jon Hudson Odom and Harry A. Winter.

An advisory from The Olney Theatre Center:  The Magic Play is recommended for ages 16+ for mature themes, strong language and intimate situations. It is not a magic show appropriate for children.

The Magic Play continues at the Olney Theatre Center through Sunday, May 7th.

photo by Jeremy Daniel

Theater critic J. Wynn Rousuck joins Tom each Thursday to share her impressions of the region's thespian offerings. This week she's here with a review of the touring company production of the Broadway musical Something Rotten!, now playing at Baltimore's Hippodrome Theatre.    

A musical comedy brought together on stage by the director of Aladdin and co-director of The Book of Mormon and the producer of Rent, Avenue Q and In the Heights, Something Rotten! tells the story of brothers Nick and Nigel Bottom, two Renaissance-era playwrights mired in the shadow of their rockstar contemporary, Will Shakespeare. After a fortune-teller informs them that the next big trend in theater will involve plays that feature singing, dancing and acting at the same time, the brothers decide to produce the world's first musical. Their efforts provide Something Rotten!'s driving energy.

The musical's New York production opened in April 2015. The National Tour commenced in January of this year, with three Broadway principals reprising their roles: Rob McClure as Nick Bottom, Adam Pascal as Shakespeare and Josh Grisetti as Nigel Bottom. The touring cast also features Maggie Lakis as Bea, Blake Hammond as Nostradamus, Autumn Hurlbert as Portia, Scott Cote as Brother Jeremiah and Jeff Brooks as Shylock.

The original musical is directed and choreographed by Tony Award winner Casey Nicholaw (The Book of Mormon, Aladdin), with music and lyrics by Grammy Award winner and Tony Award nominee Wayne Kirkpatrick and Golden Globe Award and Tony Award nominee Karey Kirkpatrick, and a book by Tony Award nominees Karey Kirkpatrick and best-selling author John O’Farrell.

Something Rotten! continues at the Hippodrome Theatre in Baltimore for a limited engagement from Tuesday, April 18 to Sunday, April 23.

Photo by Glenn Ricci

Theater critic J. Wynn Rousuck, who joins Tom each Thursday with her impressions of the region's latest stagecraft,  this week reviews what Submersive Productions likes to call its "immersive" new offering at Baltimore's historic Peale Center, called H.T. Darling's Incredible Musaeum Presents the Treasures of New Galapagos and Astonishing Acquisitions from the Perisphere.

Like previous excursions by Submersive Productions, H.T. Darling's Incredible Musaeum, based on a concept by Lisa Stoessel, engages the audience in a non-traditional theatrical setting. It encourages playgoers to explore the former Peale Museum's three stories of interconnected rooms, each not only filled with art, curios and exhibition-style display cases, but also peopled with live actors and puppets.

The titular H.T. Darling, played by mustachioed Sarah Olmstead Thomas, is a well-to-do explorer who has just returned from an expedition to a fanciful region of outer space called the Perisphere, and an alien planet he's named New Galapagos.  Darling shares the artifacts he's brought back with him in his Incredible Musaeum, where each audience member chooses his or her own path through the rooms, and through the evening's strange and cleverly organized events.

H. T. Darling's Incredible Musaeum is directed by Lisi Stoessel, Susan Stroupe and Glenn Ricci.  Mr. Ricci is also Submersive Productions' co-artistic director, with Ursula Marcum.

The cast also includes Josh Aterovis (Clayton, a museum guard),  Francisco Benavides (The Groundskeeper), Caitlin Bouxsein (a museum guard), David Brasington (Carol, a curator), E’Tona Ford (a museum guard), Emily Hall (shopkeeper-shared role), Brad Norris (Cedric), Martha Robichaud (shopkeeper-shared role), Trustina Sabah (Aku Maxilla, “humanoid specimen”), Lisi Stoessel (Maude, a curator),  and Alex Vernon (Dr. Percy Warner).  

Ursula Marcum and Jess Rassp are the play's puppeteers.

H. T. Darling's Incredible Musaeum is playing at the historic Peale Center, where its run has been extended through Sunday, May 14.  Ticket and showtime information here.

Photo by ClintonBPhotography

It's Theater Thursday on Midday, and time for our weekly visit from theater critic J. Wynn Rousuck, who joins Tom in the studio with her review of the new musical at the Everyman Theatre here in Baltimore.  Its subject couldn’t be more topical:  Los Otros  (The Others)delves into the complexities of immigration, cultural identity, sexuality, and coming of age.

It's a timely reworking of the musical that debuted at the Mark Taper Forum in Los Angeles in 2012, from Tony Award nominees Michael John LaChiusa (music) and Ellen Fitzhugh (book and lyrics), who joined Tom on Midday back on March 24 to talk about their new production  at Everyman.

Directed by Noah Himmelstein, with musical direction by Jon Kalbfleisch, Los Otros presents as a series of vignettes in which two Californians, Lillian and Carlos (played by Judy McLane and Philip Hernandez), recall moments from their past in which their personal experiences -- as a white woman and a Hispanic man -- are woven together with their feelings of both "otherness" and cross-cultural intimacy.

Los Otros continues on stage at Everyman Theatre until Sunday, April 23rd. 

Photo by Richard Anderson

It's Thursday on Midday, and that means theater critic J. Wynn Rousuck joins us with her take on thespian offerings in the Baltimore-DC region. This week, she's here with her review of Twisted Melodiesthe one-man musical show at Baltimore's Center Stage about Donny Hathaway, a successful singer-songwriter of the 1970s best known for his duets with Roberta Flack. 

Written and performed by Kelvin Roston, Jr., and directed by Derrick Sanders, Twisted Melodies is an intense, emotionally charged play about Hathaway's brilliant but tragically short career.  Inspired by artistic genius but tormented by mental illness, Hathaway's poignant struggles are compellingly interpreted by the multi-talented Roston. 

Twisted Melodies' run at Baltimore Center Stage has been extended thru Sunday, April 23.

Photo by Shealyn Jae

It's Thursday and that means it's time for Midday theater critic J. Wynn Rousuck to join us with a review. This week, she joins guest host Rob Sivak to talk about "Trust," the new production now on stage at Fells Point Corner Theater in Baltimore until Sunday, March 19th.

Here's how Fells Point Corner Theatre describes this off-beat play by Steven Deitz -- one of the country's most prolific regional-theater playwrights:

"A rising star and a faded one. A radio DJ. A Bohemian. Guitar picks, pick-ups and wedding dresses waiting to be worn. In a fast-paced, grungy grind, how can anyone be trusted when temptation trumps all?  From the creative team who brought us previous year's productions of Other Desert Cities and Detroit, Director Michael Byrne Zemarel combines with the talents of Valerie Dowdle, Cassandra Dutt, Laura Malkus, Rachel Roth, David Shoemaker and Mark Scharf to bring you a play about rock'n'roll -- and the ones it leaves behind."

"Trust," by Steven Deitz,  is on stage at the Fells Point Corner Theatre in Baltimore until Sunday, March 19th.

Photo by Richard Anderson

Midday's theater critic J. Wynn Rousuck joins Tom in the studio -- as she does most Thursdays -- with her review this week of The White Snake, on stage in the renovated Head Theater at the newly named Baltimore Center Stage.

Based on an ancient Chinese fable, The White Snake uses mystery and magic to tell a fantastical tale that's staged in grand-spectacle style, intertwining traditional and modern storytelling techniques.  

Two animal spirits -- White Snake and Green Snake, played by Aime Donna Kelly and Eileen Rivera, have taken human form as a beautiful woman and her sly servant. White Snake falls in love with a poor pharmacist’s assistant (played by Joe Ngo), but their relationship is condemned by a conservative monk (played by Peter Van Wagner), and their newfound happiness is threatened by tragedy. 

The White Snake was written-adapted by Mary Zimmerman, and directed by Natsu Onoda Power.  Nicole Wee is the costume designer,  Hana S. Kim is the scenic and projection designer, and  Jeff Song is music director.

The White Snake is at Baltimore Center Stage until March 26th.  Ticket and showtime information is available here.

Pages