Presented by Vanderbilt University Adapted by Tyrone L. Robinson From the book by Andrew Maraniss Directed by Tamiko Robinson Steele and Ernie Nolan
About the production
The inspirational true story of an athlete turned civil rights trailblazer. When king of the boards” Perry Wallace is recruited and accepted to Vanderbilt, his future not only changes, the country’s changes as well. Wallace makes history as the first African American to play college basketball in the deeply segregated Southeastern Conference. But how do you do something you love while surrounded by hate? This powerful world premiere based on the New York Times bestseller is a portrait of fortitude, portraying how Wallace met unthinkable challenges head on.
NCT has created a guide to support families, students, and educators in fostering meaningful conversations about equity and diversity. We hope these disucssion tips will help you and your children explore the production’s themes with empathy and curiousity and that our shared resources connect you with additional support and context.
This production is made possible by support from Vanderbilt University and other generous donors.
NCT puts together tips for families and schools to help prepare their children for their experiences. Because the script is still in development, ratings may be adjusted. NCT Education Staff will develop and update these tips on our website throughout the rehearsal process. In the meantime, please see above for more information about current content and what to expect as the script stands at present – knowing that this is subject to change.
For an upbeat, kid-friendly show with heaps of heart, make a beeline for the world premier of Arthur & Friends Make a Musical at Milwaukee’s First Stage. When Mr. Ratburn’s class at Lakewood Elementary is asked to write and perform a show for all of Elwood City, the kids are super stoked. Except for Arthur, who’s struggling with what to contribute to the show. None of his ideas feel quite exciting enough. What’s an 8-year-old aardvark to do?
This First Stage musical is directed by Khalia Davis and features book and lyrics by John Maclay with music and lyrics by Brett Ryback, who also is the show’s musical director. Shoutout to Brett from a fellow Catholic Memorial High School alum. Brett was a senior when I was a freshman, and I fondly recall his sensational spin as Harold Hill in our production of The Music Man. How fun now to witness this charming, funny show of his firsthand at First Stage.
I had the pleasure of catching the Lakewood Cast, which features Sanaiah Hibbler as Arthur. Hibbler is a sophomore at Oak Creek High School and Arthur marks her fourth mainstage production at First Stage. She’s terrific and shines in moments both fast-paced and full of heart.
Supporting Hibbler is an entire cast of young performers that really brings it. This musical does a great job of giving everyone their own big, splashy musical number. It creates a veritable ensemble cast that, I imagine, would appeal to loads of young actors. Arthur gives each performer an opportunity to show loads of personality. Here’s who we get to enjoy in the Lakewood cast:
Fifth grader Layla Katers puts mighty spunk into her First Stage debut as Arthur’s little sister, D.W. Her obsession with aliens is a cute secondary story.
Niamh Mayne from PPMS sparkles as Muffy the fashionista, bringing flashy fun to “Dress for Success.”
Charlie Cornell, an eighth grader at St. Mary’s Visitation, stepped in from the other young performers cast as Brain. He’s perfectly poised and articulate, particularly during a wordy number where we’re nudged to “find a better word.” “Very is often overused,” Brain sings. This writer thoroughly enjoyed the playful reminder.
The musical theater fan in me found a standout favorite in Lucia Santana as Francine. Santana hails from Wisconsin Lutheran High School and brings genuine humor and originality to the 2022 version of Francine: an activist who believes that even when things are good, they can always be better. Her showstopper tells the story of Agent 355, a real-life female spy in the revolutionary war. Choreography by Khalia Davis impresses and amuses as the song dips into a Hamilton parody-a nod that had me laughing and loving it.
Alex Radke, a sophomore at Cedarburg High School, plays Arthur’s best friend Buster. He commands the stage during “Ulysses Napoleon Baggypants” alongside Baggypants himself, the hilarious Zach Thomas Woods.
Woods is one of three adult performers in the show, and Baggypants is a highlight of the Arthur. I also enjoyed Woods’ delivery of the winking line, “Are we solving problems through song?!”
SaraLynn Evenson as Arthur’s mother does indeed solve problems through song. She warmly reminds Arthur that he is “undeniable” and that it’s impossible to be boring when you’re the only one like you.
Rounding out the adult cast is the fizzy James Carrington as Mr. Ratburn. Carrington is a joy, delighting with laughs and big grins at every turn. All he has to do is enter the scene and voila! Smiles and giggles galore.
Arthur & Friends comes together with scenic design by Arnold Bueso, who has created a world lifted from the pages of Marc Brown’s books. Costume Designer Jason Orlenko nailed the looks for each character. We are invited to imagine Arthur as an aardvark, rather than the look being literal, and isn’t that perfect for children’s theater? A chance to tap into the power of imagination, as well as acknowledge the power there is in just being our authentic selves. Everyone is the star of their own story. Arthur & Friends is a marvelous reminder of that for kids and grown-ups alike.
Arthur & Friends Make a Musical is playing at First Stage through November 6, 2022. The show is approximately 75 minutes long, plus a brief intermission. It is recommended for families with children aged 5+. Find information and tickets at firstage.org.
Owen & Mzee The Musical is a inspiring true story of two great friends, a baby hippo named Owen and a 130-yr-old giant tortoise named Mzee. When Owen was stranded after a tsunami, villagers in Kenya worked tirelessly to rescue him. Then, to everyone’s amazement, the orphan hippo and the elderly tortoise adopted each other, and they became inseparable, swimming, eating, and playing together. Adorable photos e-mailed from friend to friend quickly made them worldwide celebrities. Here is a joyous reminder that in times of trouble, friendship is stronger than the differences that too often pull us apart.
The Kennedy Center’s world premiere adaptation of the young adult fantasy classic brings the novel’s unique blend of sci-fi and whimsical poetry to life.
The Kennedy Center’s Performances for Young Audiences season is back, and it kicked off with a world premiere adaptation of the young adult fantasy classic A Wind in the Door. This wildly imaginative tale by Madeleine L’Engle is best known as the sequel to her Newbery Medal-winning novel A Wrinkle in Time, which has sparked multiple stage and film adaptations.
A Wind in the Door might have been slightly overshadowed by the acclaim of its literary predecessor, but it tells a story that’s innovative and thrilling in its own right. The Kennedy Center’s adaptation by Jacqueline Goldfinger and directed by Nicole A. Watson brings the novel’s unique blend of sci-fi and whimsical poetry to life in a whirlwind performance.
From its very beginning, A Wind in the Door strikes a delicate balance between the peppy silliness of a kid-friendly adventure and the solemnity of a transcendent journey across the galaxy. It’s dizzying in just the right way as the audience is thrown into the supernatural world of Meg and Charles Wallace‘s attic, where magical beings suddenly appear and an imaginary sub-cellular structure called the farandolae contains the secret to the universe’s salvation.
While the show plays with different fantastical scenarios, the crux of the drama is that Meg’s (Alicia Grace) little brother Charles Wallace (David Landstrom) is dying due to a disorder of his farandolae. Her earthly friend Calvin (Vaughn Ryan Midder) and otherworldly friend Progo (Tyasia Velines) need to find a way to make him well. To do this, they must complete a series of tests from an ethereal cosmic instructor named Blajeny (Lynette Rathnam), fight an evil force called the Echthroi who are attempting to “X” or eliminate everything in the universe, and communicate with each other telepathically through a process called “kything.” And finally, they must travel inside Charles Wallace‘s mitochondria to convince a particular farandolae called Sporos to “take root” and resist the chaotic influence of the Echthroi.https://e0f049babf827176dd0eb23c4f3b662c.safeframe.googlesyndication.com/safeframe/1-0-38/html/container.html
This is a lot to tackle in just 60 minutes, but the Kennedy Center’s smart and heartfelt adaptation manages to crystallize the big ideas with time to spare for the grade school good stuff, from physical comedy to puppet dances. It’s a bit ambitious, but A Wind in the Door gets the job done – part of the play’s storytelling approach is to pepper in clearly formulated lessons about friendship, bravery, and loss, and while this might feel a bit didactic for adult audience members, it captures the spirit of L’Engle’s prose.
A Wind in the Door is also just fun to look at: the costumes by Ivania Stack and puppets by Matt-a-Magical were dazzlingly fun. For a show with minimal set changes, it was visually lush enough to hold the attention of even the most Tik Tok-steeped elementary schooler. This was largely due to the combination of the absolutely breathtaking lighting design by Sherrice Mojgani and sound by Tosin Olufolabi.
Beyond the beautiful visuals and ambiance, the show was carried by a spectacular cast. Alicia Grace brought bubbly energy and warmth to the character of Meg, simultaneously capturing her childlike wonder and maturity beyond her years. Tyasia Velines held the audience in the palm of their hand as Progo – perhaps a poor characterization here, since Progo’s hands are not palmed but rather take the form of additional heads, complete with snouts and wide eyes. Indeed, Velines made the unique physicality of this wondrous supernatural creature their own with charisma and (literal) panache. David Landstrom‘s endearing Charles Wallace embodied the boy genius in all his stuffy-nosed fragility. Vaughn Ryan Midder was delightful as Calvin, and Lynette Rathnam‘s Blajeny was captivating underneath a stunning costume that you have to see in person to fully experience.
One of Madeleine L’Engle’s biggest talents is connecting the cosmic to the personal, and this synthesis between the vast and intimate is captured beautifully in Jacqueline Goldfinger’s adaptation. While concepts like the importance of “taking root” and Meg’s power to “name” people for who they are might seem a bit abstract for an elementary or middle schooler, A Wind in the Door makes big themes tangible and accessible without talking down to its audience.
The idea of love vanquishing darkness is not exactly radical, but it’s not every day that the triumph of good over evil is depicted through squirming farandolae or the feather of a many-eyed heavenly being. In the world of A Wind in the Door, we all depend on each other to survive (no matter how many eyes we have), and whether we look out for one another can determine the fate of us all. It’s a timeless lesson and one that couldn’t be more important for the times we live in now.
Running time: 60 minutes
A Wind in the Door at the Kennedy Center is playing through September 11, 2021, and the production will be streaming later in the fall for school audiences. The show is recommended for ages 9 and up. Tickets are $20 per person, and you can go here to reserve your seat. Information about the Kennedy Center’s Covid-19 requirements can be found here.
Read the full article by Dara Homer from Broadway World, Washington DC here.
The Kennedy Center’s world premiere commission of Madeleine L’Engle’s A Wind in the Door opened over Labor Day weekend to a much deserved standing ovation. The sequel to A Wrinkle in Time, and second installment of L’Engle’s Time Quartet, was adapted for the stage by Jacqueline Goldfinger and features the beloved characters Charles Wallace, Meg, and Calvin as they battle an evil force, which threatens all existence, through a series of tests.
Director Nicole A. Watson brings the story to life with a five-person cast and a gorgeous set designed by Luciana Stecconi. The production includes a towering puppet (by Matt-a-Magic) and a lovable dragon-esque creature named Progo, charmingly played by Tyasia Velines, with a magically colorful costume (designed by Ivania Stack) using Velines’s arms as dragon necks with a head on each hand.
The story begins with Meg, played by Alicia Grace, worrying about her brother, Charles Wallace (David Landstrom), who is not well and keeps getting sicker. With the help of her good friend Calvin (Vaughn Ryan Midder), they encourage Charles Wallace to hunker down in a warm blanket so he can rest while they read a book to him.
But the trio is interrupted by an intergalactic Teacher named Blejany (Lynette Rathnam), who tells them that Charles Wallace is in danger and they must go on a mission to save him from the evil Echthros and restore balance to the Universe.
They will not be alone, though; Blejany has brought them a guide named Progo (Velines) to help them along the way. With the creature’s help they agree to take on this enormous task and determine to save Charles Wallace and, in turn, the entire world.
In the first test, three replicas of Calvin appear. The actors are all wearing the same outfit, with an emotionless mask to hide their faces, all claiming to be Calvin and posturing like him. Meg must name them all and discover who is the real Calvin. The scene is a bit sinister but with enough humor to keep from being scary. The Calvins slither around Meg doing different moves and tricks to plead their case. But ultimately, because Meg knows Calvin’s heart so well, she is able to be rid of the imposters and find the real Calvin.
And this is the nature of the tests Meg must perform. She uses her knowledge and fortitude to find the truths and fight against deceit, flattery, and destruction, for the good of all. Grace portrays Meg’s struggle with a brilliant balance of youthful self-doubt and honest determination.
The entire cast does an impressive job and the show has a steady-paced, high-energy, suspenseful vibe that holds the audience’s engagement throughout the production. My 12- year-old attended with me and was shocked when only five actors appeared at the curtain call, asking “Where are the rest of the people?”— which speaks to the seamless performances and transitions by the crew.
A Wind in the Door is a heart-warming tale about love, hope, and responsibility. The story addresses the unpleasant truth that there are many evils in the world. And though things may not seem to affect us all directly, these evils could ultimately destroy our world if we do not band together and fight. This message transcends into so much that is going on today. Climate change, civil rights, prejudice, and mental health stigmas. The list is endless.
The Kennedy Center has created a fantastic, original production with a subtle yet powerful message that all youth should hear. With a knockout cast and impressive production team, A Wind in the Door is destined to become a new family favorite.
Read the article from Kendall Mostafavai at the DC Metro here.
Running Time: Approximately 60 minutes, with no intermission. Most enjoyed by 9+
A Wind in the Door plays September 2 through 11, 2021, at The Kennedy Center Family Theater, 2700 F St. NW, Washington, D.C. Tickets are available online or by calling the box office at (202) 416-8540.
Cast: Alicia Grace (Meg Murry), David Landstrom (Charles Wallace), Vaughn Ryan Midder (Calvin O’Keefe), Lynette Rathnam (Blageny), and Tyasia Velines (Progo)
Creative Team: Director – Nicole A. Watson; Playwright – Jacqueline Goldfinger; Dramaturg – Martine Kei Green-Rogers; Stage Manager – Rachael Danielle Albert; Costume Designer – Ivania Stack; Sound Designer – Tosin Olufolabi; Properties Artisan – Patti Kalil; Production Assistant – Stephen Bubniak; Scenic Designer – Luciana Stecconi; Lighting Designer – Sherrice Mojgani; Puppets – Matt-a-Magical; Assistant Director – Agyeiwaa Asante; Casting Director – Michelle Kozlak
Bay Area Children’s Theatre (BACT) has appointed director, performer, educator, and longtime collaborator Khalia Davis to the new role of Artistic Director.
In her new role, Davis will bring her signature energy and vision to the artistic future of BACT. Her years of multidisciplinary experience and credentials for innovation as a director of new work include the world premiere of BACT’s “She Persisted The Musical,” inspired by Chelsea Clinton‘s best-selling book about women heroines, and, most recently, “A Kids Play About Racism,” which Davis adapted from Jelani Memory’s book, “A Kids Book about Racism.” She is also deeply committed to amplifying BIPOC voices and is the first BIPOC woman to become the artistic director of a major theatre for young audiences (TYA).
Meehan, who has led BACT in the dual role of Executive Artistic Director
(overall leadership and artistic management) since the company’s
inception, becomes CEO, with a primary focus on shaping the strategic
path forward for BACT as the company looks ahead through the trials of
the pandemic and onward to the future. Meehan will continue to provide
artistic oversight in such areas as season planning, in collaboration
with Davis and the BACT leadership team.
Davis has been a beloved, multi-talented, stellar member of the BACT
family over the years as an actress, a choreographer, a teaching artist,
a director and more,” Meehan said. “I am thrilled that she has agreed
to join BACT in a key leadership role!”
“BACT has been my artistic
home for nearly a decade,” Davis said. “I’m excited and honored to be
joining the team that will forge the future for the company and our
loving relationship to the communities we serve.”
For the past several years, Davis has divided her time between the San Francisco Bay Area and New York. She has directed and devised new works with prominent TYA theaters such as BACT (She Persisted, The Musical) Atlantic Theater Company’s Atlantic for Kids, New York City Children’s Theater, Spellbound Theatre and others. Davis recently served as the Director of Inclusion and Education with Brooklyn Children’s Theatre, restructuring their children’s musical theater programming through an anti-racism lens. She has taught with New York City Children’s Theater, the Atlantic Acting School, and for Disney Theatrical Group, leading music and movement workshops and facilitating audience and community engagement. She is an artistic associate for the nationally known arts education organization The Story Pirates. As a performer, she has worked regionally and toured nationally on both coasts. Davis was awarded the 2019 Emerging Leader Fellowship with TYA/USA and the NYCCT Leader Fellowship for 2019/2020. She holds a BA in Theater Arts from the University of Southern California.
Orlando Repertory Theatre is among 41 theaters nationwide co-presenting the online premiere of a free play about racism designed for children, and this version is directed by Khalia Davis of the Gurman Agency LLC.
“A Kids Play About Racism” will be shown Aug. 1-2 in the hopes of giving families a way to engage in meaningful conversation about racial issues. The play is adapted from “A Kids Book About Race” by Jelani Memory, a Black father with six children of different races.
Orlando Rep and the other presenters, led by the Bay Area Children’s
Theatre in California, Seattle Children’s Theatre and Alliance Theatre
in Atlanta, specialize in theater for young audiences. The online
presentation of “A Kids Play About Racism” will be available at get.broadwayondemand.com.
“This performance explains what racism is, how to know it when you see
and experience it, and ideas for what you can do about it,” reads the
website, kidsplayabout.org. The production is recommended for ages 5 and
Read the full article by Matthew J. Palm from the Orlando Sentinel here.
In Imagination Stage’s production of Zomo The Rabbit: A Hip-Hop Creation Myth, written by Psalmayene 24 with music by Nick “tha 1 da” Hernandez, hip-hop meets a Nigerian folktale. Zomo the Rabbit (Gary L. Perkins III) doesn’t feel like he fits in with other animals. And much to Zomo’s dismay, no one is interested in his raps. Zomo decides what he needs is power. He seeks out the Sky God (Melissa Carter). Sky God is dealing with the constant fighting among the animals and is in need of something to unite them. She decides to give Zomo a quest. To get his power (and secretly help Sky God with her problem), he must retrieve three items: Big Fish’s (Unissa Cruse) dancing shoes, Wild Cow’s (Jonathan Atkinson) spray paint cans, and Leopard’s (Inés Domínguez del Corral) beat machine. As Zomo goes about his quest, he starts to realize that it wasn’t power that he was looking for after all. Imagination Stage’s Zomo The Rabbit: A Hip-Hop Creation Myth, directed by Raymond O. Caldwell, brings back old school hip-hop for a fun, interactive show for kids and adults.
From the dance moves (directed by Tiffany Quinn) to the music (created and directed by Nick Hernandez), the show is old school hip-hop to its core. The show references raps from the 70’s and 80’s. The raps aren’t so fast that they would lose kids. The rap styles are comfortingly familiar and you’ll keep trying to guess which rap styles were used as inspiration even after the show. The projections and scenic design, by Nate Sinnott, are colorful and are spot on for the graffiti art style associated with hip-hop.
The costumes, designed by Madison Booth, play on hip-hop elements and
pull from styles iconic of the 80’s and early 90’s. With the show being
set in D.C., adults and kids will enjoy little Easter eggs such as the
references to the Metro and the National Zoo.
The cast is an energetic and talented bunch. They keep the energy
going even during audience interactions. A clear first place for
audience favorite is the dance battle between Zomo and Big Fish. You get
to learn a move or two and get to cheer on your favorite dancer. Both
Perkins and Cruse have some seriously awesome moves. It doesn’t just
stop at the dance battle. There is yoga with Flamingo, a Mad Lib style
rap, and much more. Carter’s yoga obsessed Sky God is quite funny. Sky
God goes around spouting silly sayings to a confused Zomo almost like a
parent would to their child.
The show’s lesson about power is a good one. As Zomo goes on his
quest, he begins to realize that his actions to get power are hurting
Big Fish, Wild Cow, and Leopard. He learns that you have to earn power.
But, the show isn’t just a lesson about power. It’s a lesson in hip-hop.
You learn about hip-hop music and dance styles.
The only missed beat in this show? It’s a bit longer than it should
have been. There are a few scenes which stretch out a bit such as Zomo
meeting Wild Cow. These scenes don’t quite match the pacing of Zomo
meeting the other characters.
With its lovable characters and its creative storytelling, don’t run – “hop” to go see Imagination Stage’s Zomo the Rabbit: A Hip-Hop Creation Myth.
Dexter Singleton, director represented by the Gurman Agency, reads the loved children’s story There’s a FLY GUY In My Soup with his son before bedtime. Learn more about FLY GUY: THE MUSICAL right here.
Atlantyca Entertainment’s stage production Geronimo Stilton: Mouse in Space is launching a tour in Ontario, Canada.
The Ontario tour will begin in October 2018, premiering at the Richmond Hill Centre for the Performing Arts. In Geronimo Stilton: Mouse in Space, villains are threatening New Mouse City, and the only hope is Geronimo Stilton. The hero is launched into space on a top-secret mission to save the day.
Geronimo Stilton: Mouse in Space is based on the bestselling Italian book series by Elisabetta Dami and is adapted for the stage by John Maclay. The deal was secured by Atlantyca Live and brokered by the Gurman Agency, Atlantyca’s theatrical literary agent. Atlantyca’s first U.S. stage show launched in January 2016 with the premiere of The Oregon Children’s Theater’s Geronimo Stilton: Mouse in Space.