Category: Musical Reviews

FROM UP HERE

Photos of Strangers

A Theater Review by Julinda D. Lewis

Presented by HATTheatre

At: HATTheatre, 1124 Westbriar Dr., Richmond, VA 23238

Performances: March 2-15, 2024

Ticket Prices: $30 General Admission. $25 Seniors/Students/Military. $20 Youth

Info: 804-343-6364  or https://hattheatre.org

Set on the Brooklyn Bridge where five strangers go to seek solitude and solace, FROM UP HERE (2012) is a uniquely moving and relatable one-act musical.

There’s Henry (Doug Schneider), an older man, a widower who comes to the bridge to reminisce about his beloved wife of forty years. They met on the bridge by accident – literally. Emily (Elise Cumbia) is a sensitive young woman struggling with the news of an unnamed but apparently life-threatening illness. Her illness – likely some form of cancer – makes her reconsider her commitment to her boyfriend. Emily’s long-term boyfriend Dan (Erik DeMario) is a photographer whose current project, taking impromptu photographs of strangers on the Brooklyn Bridge, is instrumental in creating intersections between these strangers.

Jill (Alanna Wilson) is a kind young woman who discovers she is pregnant after a rare one-night stand with a man who subsequently ghosted her. And finally, there is Alan (Aaron Hoffman) is a harried businessman who seems always on the brink of calamity, leaving him little time for human interaction.

Since it’s Sunday, I’ll take a page from my preaching friends and offer just three points about this play, and then you’ll be free to go see it for yourself.

First, each and every one of these characters is likeable. They are people we care about, and even though this one-act musical runs for under 90 minutes, we feel that we get to know the character of each of these people. It doesn’t matter what happened before we met them – or before they met each other. What matters is that now we know them, and we care about them.

Second, each and every one of these actors can sing, but I (who am NOT a singer or musician) was especially impressed by Erik DeMario and Elise Cumbia. DeMario, at times, reminded me of an opera singer. It comes as no surprise to find, in DeMario’s bio, that he has performed with the Virginia Opera, VCU Opera, and the Richmond Symphony, among other companies. Cumbia’s clear tone reflects her background in musical theatre and no doubt serves her well with her work with her church choir.

Several times all five share the stage, singing the show’s motif: “This isn’t the end. This is the beginning.” This isn’t the end of life – despite the implications that, at some point, each has considered jumping off the bridge. No, it isn’t the end of life, but the beginning of a new phase of life, and during the course of a year, they help each other through the trials and tribulations that have led them to this point.

And finally, because I promised three points, FROM UP HERE seems different from most musicals. For one thing, it’s just one-act. In my experience, musicals tend to run longer than non-musical productions. Also, as I mentioned earlier, FROM UP HERE reminded me somewhat of an opera. The songs were not catchy, sing-along tunes, but seemed designed with the intention of moving the narrative. And then, this musical is not high school bullies or rivalries or romance. It is about change and choices and consequences. Why did author Lambert – a Texas born actor and writer who, after living and working in New York, now lives and works in the UK – set this musical very specifically on the Brooklyn Bridge? Perhaps it was because the Brooklyn Bridge is a kind of suspension bridge, and each of these five characters is suspended between their past and their future.

The play is set against a backdrop of a painting that strongly suggests the Brooklyn Bridge. As one who, for many years, walked across the Brooklyn Bridge and back every Saturday morning for exercise (followed by pancakes), it would take a feat of engineering to produce an accurate rendering of the historic bridge.

Lambert’s script calls for four musicians or instruments (piano, reed such as flute, clarinet or saxophone, violin + glockenspiel, and cello) but notes that the music can be performed with only a piano. The artistic team for this production decided to use piano and violin, with musical director Leilani Fenick and violinist Kristen Presley seated upstage center. The music was wonderful, as the two not only accompanied the songs but also supplied the soundscape, such as telephone ringtones. Somehow, inexplicably, having the musicians so present made me feel less intrusive as an audience member, less voyeuristic, and more like a participant observer.

Frank Foster’s direction elicits an authenticity from each character that helps lure in the audience, and once there, we are fully committed. FROM UP HERE, which could allude to the nearly 120 feet the bridge soars above the East River or the nearby Brooklyn Heights neighborhood, is a surprisingly unexpected treat: a delightful, warm, and relatable musical that leaves a lingering impression.

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Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County. When not writing about theater, she teaches dance history at VCU and low impact dance fitness classes to seasoned movers like herself, and occasionally performs.

FROM UP HERE

Written by Aaron Lee Lambert

Developed by Perfect Pitch with Adam Day Howard, Benjamin Murray and Adrianne Salmon

Directed by Frank Foster

Musical Direction by Leilani Fenick

Cast

Doug Schneider as Henry

Elise Cumbia as Emily

Erik DeMario as Dan

Alanna Wilson as Jill

Aaron Hoffman as Alan

Creative Design Team

Written by Aaron Lee Lambert

Direction & Scenic Design by Frank Foster

Musical Direction by Leilani Fenick

Stage Management by Matthew Geniesse

Lighting Design by Weston Corey

Costumes by in:commonthreads

Set Painting by Amy Sullivan

Light Board Operation: Jordan Rypkema

Box Office/House Manager: Vickie L. Scallion

Piano: Leilani Fenick

Violin: Kristin Presley

Dates

March 2-15, 2024

Ticket Information

Ticket Prices: $30 General Admission. $25 Seniors/Students/Military. $20 Youth

Info: 804-343-6364  or https://hattheatre.org

Run Time

Approximately 70 minutes, with no intermission

Photo Credits: N/A

There’s a Little Fairy Tale in Every Reality

BKLYN THE MUSICAL

There’s a Bit of Truth in Every Fairy Tale…and Vice Versa

At: The Swift Creek Mill Theatre, 17401 U.S. Route One, Chesterfield, VA 23834

Performances: January 27 – February 17, 2024

Ticket Prices: $49. Discounts available for students, seniors, and veterans.

Info: (804) 748-5203 or https://www.swiftcreekmill.com

There’s been a lot of discussion recently about people who were outraged that a certain popular movie was a – gasp! – musical. I, personally, love a good musical. The first paycheck I ever earned was for working in a summer youth program that put on a production of West Side Story. (I played Anita.) I love a good musical, but one thing I love even more is a musical I never heard of that blows you away with phenomenal singing, and BKLYN THE MUSICAL almost brought me to tears with the first song, an ensemble piece called “Heart Behind These Hands” that comes even before the “Prologue.”

Thank you and kudos to Dorothy Dee-D Miller, Desirèe Dabney, Michael McMullen, Kamaron Carter, and Lindy Pokorny. This ensemble of five powerhouse vocalists remind us that the Richmond-area theatre community has no lack of talented professionals who are second to none. They played the leading roles of a magical Streetsinger, a local diva named Paradice, Taylor – a missing father, Faith – his long-lost love, and their daughter Brooklyn – the title character. These five are ably supported by the City Weeds, a band of homeless musicians, played by Garrett D. Reese, Larry “Akin” Smith, Nocole Pearson, and Anthony Hernandez. All the City Weeds except Hernandez, who is currently a Junior at Appomattox Regional Governor’s School, also serve as understudies for one of the leads.

Schonfeld and McPherson put together a nominal story-within-a-story or perhaps more accurately a play-within-a-play. Set in a homeless encampment under the Brooklyn Bridge, the actors are members of the City Weeds, who make music to support themselves. Never mind that the set doesn’t much resemble the Brooklyn Bridge I used to walk across most Saturday mornings for a large part of my young adulthood, or that you’re not likely to find a bodega (corner store) under the pillars of said bridge – the set designer and creative team exercised creative license to construct a world of chain link fences, discarded mattresses, and colorful graffiti that evokes the grittiness of the stereotypical inner city. The costume designer crafted a collection of shabby chic ensembles and a few masterful garbage-sack gowns for the divas who, the story would have us believe, engage in a singing dual at Madison Square Garden. The stakes are high: if Bklyn wins, she will use all the money to help the homeless, but if Paradice wins, she will keep all the money for herself.

On opening night there were a few times when the sound was uneven and sone parts of the dialogue got lost – especially when actors were on the opposite side of the stage from where I was sitting. I trust this will be ironed out shortly.

The important thing is that for 100 minutes, with no intermission, this 9-member ensemble blew away the audience with strong vocals, dynamic performances, enough of a story to keep us interested, enough humor to make us feel loved, and enough interaction to keep us on our toes – all under the masterful direction of Shanea N, Taylor and the musical direction of Leilani Fenick. You never knew what outrageous outfit Dabney would sport next – or what stereotypically offensive utterance she would pronounce in love. You never knew when to expect a homeless person to push a shopping cart down the aisle. You never knew when Pokorny, Miller, McMullen, or Dabney would open their mouth and emit an endlessly long, clear, and perfect note.

It’s not all roses and cliches. There is homelessness, suicide, war, the mystery of an unfinished lullaby, and the aftermath of drug-addicted veterans – and of course, the toll these events take on innocent children. Yet, as far as narratives go – as far as fairytales go – none of this can compare to the real-life backstory of the musical’s authors. Apparently Schoenfeld and McPherson worked together in the 1980s. McPherson sang in cabarets and Schoenfeld wrote music. When McPherson traded in the stage for suburban family life, she and  Schoenfeld lost contact. Then, according to the real-life fairytale, on a trip to New York one day McPherson heard a familiar voice and found a now homeless Schoenfeld performing as a streetsinger for $40 a day. She then invited her old friend and business partner to come live with her family while he got himself back on his feet – and the result was BKLYN THE MUSICAL. Ta da! As I said, I love a good musical. The musical based on the authors’ story might be an even better one than the one they produced.

BKLYN THE MUSICAL is fun. It’s dynamic. Much of the music is foot-tapping good, and the singing is often excellent. It’s corny and sassy. It’s as innocent as Brooklyn (the character, not the place) and as in-your-face and confident as Paradice – and you’ve got to be confident if you parents named you after a pair of gambling cubes. It’s a well put together show that offers hope and a happy ending in spite of, well, reality.

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Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County. When not writing about theater, she teaches dance history at VCU and low impact dance fitness classes to seasoned movers like herself, and occasionally performs.

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BKLYN THE MUSICAL (Stage premiere April 30, 2003, Dener, CO))

Book, Music, and Lyrics by Mark Schoenfeld and Barri McPherson

Directed by Shanea N. Taylor

CAST

Brooklyn         ……………….. Lindy Pokorny

Streetsinger     ……………….. Dorothy Dee-D Miller

Taylor              ……………….. Michael McMullen

Faith                ……………….. Kamaron Carter

Paradice          ……………….. Desirèe Dabney

City Weed/Taylor U/S ………. Garrett D. Reese

City Weed/Streetsinger U/S …. Larry “Akin” Smith

City Weed/Paradice U/S …….. Nicole Pearson

City Weed       ……………….. Anthony Hernandez

ORCHESTRA

Musical Director/Keyboard One ….. Leilani Fenick

Keyboard Two  …………………….. Ian Krauss

Reeds ……………………………… Sheri Oyan

Guitar ……………………………… Ed Drake

Bass ……………………………….. Beatrice Kelly

Drums ……………………………… Bentley Cobb

CREATIVE TEAM

Directed by Shanea N. Taylor

Musical Direction by Leilani Fenick

Scenic Design by Dasia Gregg

Lighting Design by Joe Doran

Costume Design by Maura Lynch Cravey

Choreography by Suzi Redling

Technical Direction by Liz Allmon

Run Time:

About 100 minutes with no intermission

Tickets:

Regular $49. Discounts for Seniors, Military & Veterans

Will the Real Dad Please Stand Up!

A Theater Review by Julinda D. Lewis

At: The November Theatre Arenstein Stage, 114 West Broad Street, RVA 23220

Performances: June 24 – August 7, 2022

Ticket Prices: $36-$67

Info: (804) 282-2620 or www.virginiarep.org

Some shows are meant to tell a story, some teach a lesson, some have a moral, and then there are those that are just pure and joyful entertainment. With its energetic and danceable music, familiar songs made popular in the 1970s by the group ABBA, and a stage filled with colorful costumes, throngs of dancers, and even dancing lights (thank you, Joe Doran), Mamma Mia! belongs to the latter category.

Things got off to a good start with a two or three minute Overture. The dancing lights, and upbeat music created a sense of anticipation, and then the company solidly delivered on its promise. After briefly introducing the main characters, Mamma Mia! jumped right into a large ensemble production of “Money, Money, Money” that soon led to the popular “Dancing Queen.” Not to be outdone by the women, the groomsmen and men of the ensemble danced out in flippers (swim fins) and a huge ensemble closed out the first act with a highly animated “Voulez Vous.” The second act was dominated by a series of duets with all the main characters taking turns and ended with a mini concert disguised as an extended encore. Some in the audience came prepared to party, with feather boas and animated applause. I hope the cast felt the positive energy. I know I laughed and smiled until my face hurt.

Background and Spoiler Alert

Most everyone has heard of Mamma Mia! but there are a few – like me – who had somehow never seen any version of it, neither the long-running Broadway hit show or the film series. Mamma Mia!, in spite of its Italian title, was created by a team of British artists and set on the fictitious Greek island of Kalokairi. There we find Sophie, the love-child of a former free-spirited hippie, Donna who once led a girl band, the Dynamos. Sophie is twenty and about to get married, something her mother cannot get on board with, not because she doesn’t like Sophie’s beloved, Sky, but because she doesn’t believe in marriage. To complicate things – because after all, without conflict there would be no plot – at this momentous occasion in her life, Sophie has discovered a deep need to know who her father is, so she scours her mother’s diary, uncovers three possible candidates, and without her mother’s knowledge or permission invites them all to her wedding in hopes of having her father walk her down the aisle for her traditional “white wedding.”

The cast is populated by familiar and new-to-Richmond/VaRep names and faces, and I loved them all. Hannah Jennison played bride-to-be Sophie with a credible grounded freshness. Emelie Faith Thompson gave Sophie’s mother Donna generous doses of sassiness and vulnerability and released her character’s personality in measured doses, as if well aware that too much Donna all at once was more than the average person could handle. Grey Garrett, as Donna’s friend Tanya, drew applause and cheers from the audience even before she spoke her first word, and like the glamorous, thrice-divorced auntie that most families seem to have – and who shows up to all the family celebrations – she was equally comfortable flirting with men half her age and offering wise guidance to her niece.

You are(not) the father!

Now, to return, even if only briefly, to the main plot, the three possible dads are Harry (Anthony CeFaia), Bill (Jason Krypos), and Sam (Alexander Sapp). Each had a special relationship with Donna, and Donna was never one to kiss and tell: dot, dot, dot (inside joke). Each also had a compelling reason to be revealed as Sophie’s father, but, driven by secrecy – both Donna’s reticence about her past and her own unauthorized inspection of her mother’s diary – Sophie had no DNA test results to clear up the mystery.

Good/Bad News Comes in Threes

Just as there were three possible dads, the women were cast in groups of three as well. Donna had two best friends, her former back-up singers, Tanya (Garrett) and Rosie (Catrina Brenae), and so did Sophie: Ali (Havy Nguyen) and Lisa (Jana Prentiss). Even Sky (Micah Cook on opening night; a character who was never as fully developed as the women) had two close friends, the flirtatious Pepper (Connor Macchi) and the more dependable Eddie (Johnny Reardon), both of whom worked at the taverna (a Greek restaurant, this one included a B&B) built and run by Sophie’s mother Donna (Thompson).

It comes as no surprise that the planned wedding does not go on as scheduled, but there is a surprise wedding (I guess you don’t need a license in Greece, at least not in musical Greece) as well as a surprise romance, which comes as no surprise.

Encore and Finale

One of the best parts of Mamma Mia!  is the encore and finale. I noticed Donna and a few others disappear during the final bows, and sure enough Donna and the Dynamos reappeared in brightly colored, ABBA-inspired costumes in red, orange, and yellow – exaggerated bell bottoms, futuristic extended shoulders, and blinged out to the max – only to be joined by the Dads wearing matching outfits and silver platform boots. The company sent the audience out dancing and singing along to “Mamma Mia!” “Dancing Queen,” and more. Mamma Mia! may or may not be perfect, but it is perfectly suited to these times. For some audience members, it was the first time out to a live show since “the time before,” and for others it was a much-needed release after months of disturbing breaking news reports. First produced onstage in 1999, the music is popular enough to span generations, popular enough to be familiar, and old enough to not stir up any controversy or salt any open wounds – it’s a feel-good musical through and through.

With a large cast and lots of choreography, the set was kept simple with a minimalist rotating design representing Donna’s taverna – which looked somewhat Spanish or Moorish to my untrained eye. Most of the visual effects were wisely focused on the costumes and lighting. The band was placed in the orchestra pit, instead of hidden behind the scrim, adding even more of a Broadway, big-stage feeling. The direction (Happy Mahaney), music (Sandy Dacus), and choreography (Ashleigh King) appeared to work together seamlessly, maintaining a fast pace, a high level of energy, and drawing the audience in willingly. A plot was hardly necessary, but there is an actual story-line, and a sub-plot that make sense and is easy to follow. Mamma Mia! hits the target as a summer musical.

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

MAMMA MIA!

Music and Lyrics by Benny Andersson and Björn Ulvaeus

and some songs with Stig Anderson

Book by Catherine Johnson

Originally conceived by Judy Crayner

Direction by Happy Mahaney

Cast

Sophie Sheridan          —–      Hannah Jennison

Ali                                  —–      Havy Nguyen

Lisa                              —–      Jana Prentiss

Donna Sheridan          —–      Emelie Faith Thompson

Tanya                          —–      Grey Garrett

Rosie                           —–      Catrina Brenae

Sky (through 6/26)    —–      Micah Cook

Sky (beginning 6/29) —–      Donathan Arnold

Pepper                         —–      Connor Macchi

Eddie                            —–      Johnny Reardon

Harry Bright                —–      Anthony CeFala

Bill Austin                    —–      Jason Kypros

Sam Carmichael         —–      Alexander Sapp

Ensemble                    —–      Mikaela Craft, Emily Dandridge, Paul Dandridge,

                                          Janiece Deveaux, Evelyn Dumeer, Jianna Hurt,

                                          Brandon McKinney, Chandler James Pettus, David Ramirez,

                                          Shannon Schilstra, Caleb Wade, Kayla Xavier

Creative Team

Scenic Design                          – Josafath Reynoso

Costume Design                      – Sue Griffin and Marcia Miller Hailey

Lighting Design                       – Joe Doran

Sound Design                           – Jacob Mishler

Stage Management                – Justin Janke

Music Direction                       – Sandy Dacus

Choreography                          – Ashleigh King

Direction                                  – Happy Mahaney

Band

Keyboard 1/Conductor       – Sandy Dacus

Keyboard 2                              – Leilani Fenick

Keyboard 3                              – David C. Robbins, Joy Weaver*

Keyboard 4                              – Ian Krauss

Bass                                          – Jeff Smick

Guitar 1                                    – Ed Drake

Guitar 2                                   – Hannon D. Lane, Rinatt Montoya*

Drums/Percussion              – Bentley Cobb, Joe Lubman*

*(substituting at select performances)

Run Time: 2 hours and 20 minutes including one 15-minute intermission

Ticket Information

Box Office: 804-282-2620

http://www.virginiarep.org

Tickets range from $36 – $67

Discounted Group Rates and Rush tickets available.

Photo Credits: Aaron Sutten

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Updated Virginia Rep COVID Guidelines

Masks, covering the face and nose, are required for all patrons while inside VaRep venues, lobbies and restrooms except when actively eating or drinking.

(Note: on opening night, the bar was open for the first time since the start of the pandemic, with canned and bottle drinks and snacks.)

Jukebox Full of Girl Groups and Phenomenal Female Vocalists Comes Alive on Stage

A Theater Review by Julinda D. Lewis

At: The November Theatre Arenstein Stage, 114 West Broad Street, RVA 23220

Performances: April 8 – May 15, 2022

Ticket Prices: $36-$67.

Info: (804) 282-2620 or www.virginiarep.org

Competing harmonies emerged from a gigantic jukebox mockup at the start of Beehive: the ‘60s Musical: “It’s My Party [and I’ll cry if I want to]” versus “My Boyfriend’s Back [and your gonna be in trouble.” Before you knew it, the audience was pulled into a bit of interaction with one of my childhood favorites, “The  Name Game” and was also invited to sing along to The Ronette’s “Be My Baby.” There was also an entertaining pre-show slide presentation of 1960s trivia to get the audience warmed up.

Beehive: the ‘60s Musical is not so much a musical as a retrospective concert of 1960s hits by women and girl groups: “Proud Mary,” “One Fine Day,” “A Natural Woman,” “Son of a Preacher Man,” “To Sir, With Love,” “Me and Bobby McGee,” all transported those of us of a certain age back in time. Decked out in glittery shirts, kitten heels, go go boots (I remember craving a pair of those in intermediate school), and mini-skirts Nicole Baggesen, Madison Paige Buck, Jianna Hurt, Temperance Jones,  Mallory Keane, and Awa Sal Secka recreated one hit after another.

Costumes, hair styles, props, and set elements provided visual and historical interest. Pedal-pushers (i.e. short pants), beehive hairdos, transistor radios, and pink wall-papered bedrooms were all pulled out of the designers’ magical musical hats. And when specific stars were referenced the details were even more detailed. There was no mistaking Aretha Franklin’s elegant gown, Tina Turner’s shimmy dress, or Janis Joplin’s fringes and beads – and bottle of Southern Comfort.

The ensemble started out looking like a rainbow, each wearing a different color – purple, pink, blue, golden yellow, orange, and green – with their little heels and beehive hairdos but changed clothes and hairstyles as they progressed through the decade. By the finale, they were wearing afros and dashikis or long free-flowing hair and paisley pants or print dresses. The decades dances were acknowledged as well, including the Pony, the Jerk, the Mashed Potato, the Twist, the Swim, and the Monkey.

The cast, thanks to the wise decisions of the creator Larry Gallagher, director/choreographer Leslie Owens-Harrington, and musical director Billy Dye, the cast did not so much impersonate the formidable female vocalists of the 1960s as they paid homage to them. To do otherwise might not have ended well.

So Hurt’s rendition of Tina Turner’s songs, included a lot of hair flinging and shimmy dancing, but not a direct impersonation of the star’s million dollar legs. (They were actually insured for $3.2 million.) Aretha Franklin’s songs were given a heartfelt rendition by Secka that reflected her gospel roots, and Baggesen’s Janis Joplin set was honestly painful and painfully honest, while simultaneously and somewhat irreverently humorous..

Thanks to colorful – and frequent – costume changes and an abundance of choreography, the show was well-paced and visually compelling as well as musically comprehensive. A photo montage reminded us of the somber reality of the 1960s as well, including PG-rated scenes of the assassination of President Kennedy, the war in Vietnam, and the Civil Rights Movement. All-in-all, Beehive, the musical was 90 minutes of pure foot-tapping joy and unadulterated entertainment – for my generation. I do wonder what younger viewers might think of it.

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

BEEHIVE

Created by Larry Gallagher

Direction and Choreography by Leslie Owens-Harrington

Musical Direction by Billy Dye

Cast

Wanda – Jianna Hurt

Pattie – Madison Paige Buck

Alison – Mallory Keene

Laura – Nicole Baggesen

Jasmine – Temperance Jones

Gina – Awa Sal Secka

Band

Piano/Conductor – Shellie Johnson

Tenor Sax – Deb Saidel

Trumpet, Tambourine – Craig Taylor

Guitar – Hannon D. Lane

Bass – Mary Fender O’Brien

Drum Set – Paige Miller

Direction & Design

Direction/Choreography by Leslie Owens-Harrington

Music Direction by Billy Dye

Scenic Design by Mercedes Schaum and Amy Bale

Costume Design by Sue Griffin and Marcia Miller Hailey

Lighting Design by Lynne M. Hartman

Sound and Projection Design by Jacob Mishler

Stage Management by Hannah Hoffert

Wig Design by Kevin S. Foster, II

Run Time: 90 minutes with no intermission

Ticket Information

Box Office: 804-282-2620

http://www.virginiarep.org

Tickets range from $36 – $67

Discounted Group Rates and Rush tickets available.

Photo Credits: Aaron Sutten [production photos were not yet available at the time of publication]

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Virginia Rep COVID Guidelines

To provide the highest level of safety, all patrons are required to show proof of vaccination, or proof that they have received a negative COVID test by a professional technician within 48 hours of the performance date/time.

Patrons must show your vaccination card or a photo of the card on your phone, along with a valid photo ID, when you arrive for the performance. If you are unable to be vaccinated, you may provide proof of a Rapid COVID-19 antigen test taken within 48 hours of your performance. At home tests will not be accepted.

Please see the Virginia Rep Covid Safety FAQ for details.

In accordance with current city, state, and CDC guidance, face masks are REQUIRED at all times while you are in the building, regardless of whether or not you have been vaccinated.

At this time, no food or drink is allowed in the theatre.

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