Who says the entertainment of terror must be limited to October? Not the “Insidious” films; they are here for your horror needs year-round and even on stage at The Lyric Baltimore on March 13, 2025.

That’s right, the world of “Insidious” jumps off the screen and into the theater with “INSIDIOUS: THE FURTHER YOU FEAR” — a live, immersive horror experience based on the box office hit horror film franchise from Blumhouse, director James Wan, and writer Leigh Whannell. The show will haunt 80+ seated theaters across North America in 2025.

Blumhouse, GEO Live, Sony Pictures Entertainment, and RoadCo Entertainment promise “INSIDIOUS: THE FURTHER YOU FEAR” will be “a heart-pounding live theatrical experience where the lines between reality and fiction blur, constantly challenging what’s real and what’s imagined, what’s safe and what’s dangerous.” No fourth wall keeping or protecting audience members from the terror. Be prepared to go face-to-face with the protagonists. The audience will be an integral character in the plot as it unravels.

“We have brought some of the most respected names in the horror and entertainment industries together to make this groundbreaking show possible and ensure a hauntingly unforgettable experience for audiences everywhere,” said Floris Douwes from GEA Live.

“We’re excited to bring the eerie and otherworldly thrills of ‘Insidious’ to cities around the country,” said Toby Park, co-director. Park is also composing the original music for the show, and he and co-director Aitor Basauri serve as creative directors for “INSIDIOUS: THE FURTHER YOU FEAR.”

“Bringing audiences deeper into The Further with this live experience has been an exciting challenge, and I’m really looking forward to seeing how they respond,” said Jason Blum, founder and CEO of Blumhouse. “Insidious is one of our most popular franchises, with a sixth installment premiering next year, and this is a fresh and frightening new way for fans to experience it.”

“INSIDIOUS: THE FURTHER YOU FEAR” is a brand-new story conceived within the “Insidious” universe. The “real” Specs and Tucker (the paranormal investigators who inspired the first movie) try desperately to prove they are legitimate ghost-hunters. Things go ghastly (or ghostly?) wrong when a paranormal demonstration goes awry, and dark forces are unleashed. Trapped in this haunted theater, with something sinister lurking backstage, the audience will be under attack from iconic characters like the Bride in Black, the Wheezing Man and, of course, the terrifying Lipstick Faced Demon. Audience members will be questioning what is real, what is the show, and who really IS that person they’re sitting next to?

While the “Insidious” franchise has a growing fanbase and active community of five million social media followers, the show is also created for those who don’t know the films and especially for those who simply love a fun, thrill-filled night out at the theater.

Tickets for “INSIDIOUS: THE FURTHER YOU FEAR” go on sale Friday, Oct. 25 at 10 a.m. at The Lyric Baltimore, Etix website, or in person at The Lyric Box Office.

The Lyric Baltimore is located at 140 West Mount Royal Avenue, Baltimore, MD.

Tickets are now on sale for Come from Away, a hit musical that is returning to Baltimore’s Hippodrome Theatre for a limited engagement on April 18 and 19, 2025.

Come from Away is a story about some of the 7,000 people who were stranded in the small town of Gander, Newfoundland, after all flights to the U. S. were grounded following the terror attacks on Sept. 11, 2001.

The winner of one Tony Award and four Lawrence Olivier Awards, the musical follows plane passengers and locals as they learn about the attacks and find hope while forging lasting bonds. All of the characters in the musical are based on actual Gander residents and the stranded travelers they housed and fed.

Come from Away was originally developed at the Canadian Music Theatre Project in 2012, was further developed at the Goodspeed Musicals’ festival in East Haddam, Connecticut, in 2013 and opened on Broadway in 2017 at the Gerald Schoenfeld Theatre, where it became a critical and box office success.

The Broadway production closed in 2022 after 25 previews and 1,669 regular performances. The first North American touring production was launched in 2018 and stopped in more than 50 cities, including Baltimore, before ending in 2023. Next year’s Baltimore stop is part of a 50-venue 2024-2025 North American tour (www.comefromaway.com) that began this week in Regina, Canada.

Returning cast members include Kathleen Cameron; Addison Garner; Andrew Hendrick; Kristin Litzenberg; Erich Schroeder and Andre Williams. The 2024-2025 touring production also features John Anker Bow; Ryaan Farhadi; Richard Chaz Gomez; Jordan Hayakawa; Tyler Olshansky-Bailon; Hannah-Kathryn Wall; Nick Berke; K. Bernice; Jordan Diggory; Rayna L. Hickman; Sierra Naomi; and Justin Phillips. It’s directed by Daniel Goldstein with musical staging by Richard J. Hinds, based on the original Broadway direction and choreography.

Tickets for the Baltimore engagement are on sale at www.Ticketmaster.com or in-person at the Hippodrome Box Office, 12 N. Eutaw Street, Monday through Friday, 11 a.m. to 3 p.m., and on show days from 11 a.m. to showtime. Groups of 10 or more should contact BaltimoreGroups@BroadwayAcrossAmerica.com or call 888-451-5986.

MCB Real Estate, Midtown Baltimore, and Bloom Arts Strategy have partnered to launch the Fitzgerald Activation, which will transform the unoccupied retail space at The Fitzgerald into a creative hub and economic engine for Baltimore this fall.

From October to December 2024, local artists and cultural organizers will offer a diverse lineup of arts-based events and activities at The Fitzgerald, located at 1201 W. Mt. Royal Ave. The Fall 2024 Artistic Partners include Wordsmith and Rise with a Purpose, Ernest Shaw, Kelly L. Walker, M.A.G.I.C. Center of the Arts, Birch & Pen, Oh to Dream, The Stylette, and Good Quemistry.

The Fitzgerald Activation provides artists and makers with access to the space and resources for free. They may use the space to rehearse, perform, create, and connect with the community. Some groups are offering recurring events, and some are offering one-time-only experiences. Genres include music, dance, theater, spoken word, fashion, film, visual art, and more.

“As a community-focused developer and investment firm, we know how arts, entertainment, and culture enhance the health and vibrancy of a city. In Baltimore specifically, we’re excited to elevate The Fitzgerald with these offerings and take pride in shaping places that serve as strong foundations for thriving communities,” said Louis J. Kousouris III, Managing Director of MCB Real Estate.

The Fitzgerald Apartments, in Baltimore’s Mount Vernon neighborhood, are steps from Penn Station and the Light Rail, offering easy access for artists and public spectators in the Station North Arts District. The idea to offer artists free access to unused retail space was conceived in August 2023, with plans taking shape in early 2024. Nearly 50 local creatives submitted proposals to the open RFP issued in spring 2024. Of the applicants, 42% were small businesses and 63% of those businesses were led by BIPOC women.

“In addition to providing opportunities for artists to engage the community with their work, the Fitzgerald Activation offers Baltimore’s creative entrepreneurs a unique, low-risk opportunity to test ideas as a proof of concept, build their audience base, and fine tune their business models,” reads the press release.

“We know that artists lack access to affordable, clean, safe space to pursue their creative endeavors, and when you remove barriers to that access, not only will the artists benefit, but the communities in which they work will benefit, as well,” said Stacy Handler, CEO & founder of Bloom Arts Strategy. “This space will now be filled with music, dance, theater, creative commerce, and more. I am grateful to MCB and Midtown for being such supportive partners in this endeavor and collaborating with us to bring this idea to life to serve Baltimore’s artistic community.”

Some of the events and classes are closed to the public, like most rehearsals for certain performances, and the MICA Mural Class with Ernest Shaw. Some groups, however, offer the occasional “open” rehearsal wherein the public is invited to watch. There will be rehearsals and performances by M.A.G.I.C. Center of the Arts, a Sip, Swap, & Shoot event hosted by The Stylette, and an art exhibition featuring works by Kelly L. Walker.

Wordsmith, the BSO Artist in Residence, will be holding workshops and rehearsals for the youth artists in his organization, Rise with a Purpose, as well as performances and events for his own band and work. Most rehearsals will be closed, but several are open to the public. The Fitzgerald Activation will also offer a holiday market curated and hosted by Birch & Pen, and a bi-monthly immersive storytelling event series called Zora’s Room celebrating Black culture, womanhood, and queer identity hosted by Good Quemistry.

For a full listing of The Fitzgerald Activation’s Fall 2024 groups, activities, and events, along with public viewing, attendance, and ticketing information, click this link.

Editor’s note: This article has been updated to correct the spelling of Stacy Handler’s name.

Baltimore Center Stage (BCS) will present a new adaptation of Jane Austen’s “Pride and Prejudice,” written by Kate Hamill.

The show will run for a limited engagement from Oct. 17 through Nov. 10. The production is presented in association with Arkansas Repertory Theater, and will be directed by BCS’s Senior Producer, Ken-Matt Martin.

“Kate has created a fresh, comedic take on the beloved novel that is fast-paced and filled with surprises, laughs, and romance,” Martin said. “This PRIDE & PREJUDICE is a timely theatrical retelling of literature’s greatest tale of latent love, and explores the insanity and exhilaration of finding your perfect (or imperfect) match in life.”

The story revolves around Lizzy Bennet and her sisters in Regency England, and Lizzy believes neither in marriage nor love. That is, of course, until the “handsome, amusing, and impossibly aggravating” man in the form of Mr. Darcy begins appearing everywhere, making Lizzy wobbly in her previously steadfast principles on the matter. Hamill’s take on “Pride and Prejudice” is described as “bold,” “playful,” and “progressive” — especially progressive regarding the expectations of and about women.

New York Magazine wrote, “Hamill’s Pride & Prejudice has fun and charm to spare…full of high spirits and genuine mirth.”

TheaterMania wrote, “Enough unsettling similarities between the 18th century and now to make us pause thoughtfully between laughs.”

Lizzy Brooks stars as “Lizzy Bennet,” Malik Esoj Childs as “Mr. Darcy,” Caro Dubberly as “Jane Bennet / Miss de Bourgh,” L’Oreal Lampley as “Mary / Miss Bingley,” and Lizzy Lewis as “Lydia / Lady Catherine.”

Single tickets can be purchased at centerstage.org or by calling 410.332.0033. Patrons can also visit the box office, located at 700 North Calvert Street, Baltimore, MD.

Baltimore is about to get shucked – theater tickets, that is.

Individual tickets went on sale on Friday for Shucked, a Tony Award-winning musical comedy that’s coming to Baltimore’s Hippodrome Theatre April 1 to 6, 2025.

Part of the Hippodrome’s Broadway Series lineup for 2024-2025, Shucked tells the story of Cob County, an area grappling with a corn blight that threatens to end its citizens’ way of life. Along with a truckload of corny jokes and puns, the 2022 musical raises serious questions about everything from climate change to religion.

Music is by country songwriters Brandy Clark and Shane McNally, and the book is from Broadway veteran Robert Horn, the writer behind Tootsie. Three-time Tony Award winner Jack O’Brien is the director. The show’s Broadway run ended in January, and Baltimore is one of more than 30 cities on its national tour, which starts later this month in Providence, Rhode Island. A film adaptation is also in the works.

“What do you get when you pair a semi-neurotic, New York comedy writer with two music superstars from Nashville?” the Hippodrome asks in its announcement about the show. “A hilarious and audacious farm-to-fable musical about the one thing Americans everywhere can’t get enough of: corn. Shucked is the new musical comedy that proves sometimes tearing down a few walls, rather than growing them, is the only way to preserve our way of life. Shucked is turning musical theater on its ear and is offering a kernel of hope for our divided nation.”

The cast includes Miki Abraham (Shucked on Broadway) as Lulu; Tyler Joseph Ellis (“The Sex Lives of College Girls”) as Storyteller 2; Maya Lagerstam (The Gospel According to Heather) as Storyteller 1; Mike Nappi (Darling Grenadine) as Peanut; Jake Odmark (Kinky Boots) as Beau; Quinn  VanAntwerp (Shucked on Broadway) as Gordy; and Danielle Wade (“Cady” in the Mean Girls National Tour) as Maizy.  

The cast also includes Zakiya Baptiste, Mackenzie Bell, Carly Caviglia, Cecily Dionne Davis, Ryan Fitzgerald, Sean Casey Flanagan, Jackson Goad, Erick Pinnick, Nick Raynor, Celeste Rose, Kyle Sherman and Chani Wereley.

Prices for individual tickets range from $49 to $164, with a select number of premium tickets for sale.

Tickets are available at BaltimoreHippodrome.com, Ticketmaster.com or in-person at the Hippodrome Box Office (12 N Eutaw Street) Monday through Friday, 11 a.m. to 3 p.m., and on show days from 11 a.m. until showtime. Groups of 10 or more can contact BaltimoreGroups@BroadwayAcrossAmerica.com or call 888-451-5986.

In Baltimore, scenes like this, unfortunately, are often associated with responses to tragedy in which politicians show up to assure folks of how they’ll do everything in their power to guide the city to a place of healing and restoration. But luckily, on this day, all of the commotion—students dancing, news cameras everywhere, and community members passing by—was in celebration of André De Shields, the 78-year-old theater virtuoso whose formative years were spent on this very street, which was now being named after him.

Read more at Baltimore Magazine.

Everyman Theatre is introducing “Script Tease,” a series of pay-what-you-choose readings of new works by regional playwrights, starting in November.

The 2024/2025 season of “Script Tease” features two playwrights from Baltimore, a D.C.-based playwright, and a Baltimore-based associate artistic director and playwright. Audiences have the unique opportunity to have an early look at new plays while peeking behind the curtain into the creative process of playwriting while providing local creatives with the chance to bring their stories to life.

The four plays in this year’s series include “Glitter in the Glass” by R. Eric Thomas (playwright of Everyman’s 2022 production of “Crying on Television”), “Trouble (At the Vista View Mobile Home Estates)” by Audrey Cefaly, “The Sandwich Ministry” by Miranda Rose Hall, and “Dawn” by Tuyết Thị Phạm (playwright of Everyman’s 2022 production of “Dinner and Cake”).

The readings will take place in Everyman’s second-floor performance space on select Monday evenings. Each play will be performed as informal readings, giving the audiences the chance to experience them in an intimate, unpolished setting. The stories explore themes including love, loss, challenges of belief, and finding one’s identity amidst struggles.

“These four fantastic plays ask proactive questions about a wide range of human experiences,” said Noah Himmelstein, Everyman Associate artistic director. “In collaborating with the artistic team on the curation of this series, we were drawn to these bold voices, whose work is all very different in style and feel, to create a joyful and eclectic series celebrating new works by writers in our region.”

Fulfilling Everyman Theatre’s commitment to accessibility, tickets for “Script Tease” will be offered on a Pay-What-You-Choose basis. This sliding scale allows people to attend a reading for as little as $5, ensuring price is not a barrier to this unplugged theater experience.

There are also ticket packages available for the full series with tickets to all four staged
readings in one simplified purchase. Following a similar Pay-What-You-Choose model, these packaged offerings will be priced at a three-tiered rate of $50, $75, and $100, with a special bonus-experience package offered at the suggested price of $200.

“We’re excited to present this additional programming not only as a complement to our main stage productions, but as additional access points for those looking to engage deeper into the world of theatre,” said Marissa LaRose, managing director at Everyman Theatre. “New plays readings offer a fabulous opportunity to hear stories in their infancy, and a chance for audiences to be in the room first. At Everyman, it is important to us to provide pay-what-you-choose access for our programming and choosing to have all tickets for this series as pay-what-you-choose felt like the best way to provide equitable access to this unique opportunity.”

“Script Tease” is not the first time Everyman Theatre has showcased new works with a reading series. They previously hosted the Salon Series, which showcased plays written by women for three consecutive seasons from 2016-2019, which had many sold-out performances.

The 2024/2025 “Script Tease” Reading Series Lineup is as follows:

Glitter in the Glass
By R. Eric Thomas
Monday, November 4, 2024 – 7PM

The story of Chelle, a Black mid-career artist who is running out of steam as she attempts to replace a Confederate monument in Baltimore with her artwork. Complications involve family, friends, and reconnecting with her childhood home.

Trouble (At the Vista View Mobile Home Estates)
by Audrey Cefaly
Directed by Paige Hernandez
Monday, December 16, 2024 – 7PM

Set in a fictional mill town in Alabama, this story depicts the strained relationship
between a former mill worker, Euba, and her mother, Bernie. The narrative unfolds during
Euba’s reluctantly celebrated birthday party, involving her pregnant friend Lila, best friend Fin, and security officer YoYo. The play addresses the struggle of working class women, and deals with mental health, addiction, and motherhood. It’s the 4^th installment in Cefaly’s Alabama Cycle. (The Gulf, Alabaster, Maytag Virgin).

The Sandwich Ministry
by Miranda Rose Hall
Directed by Tuyết Thị Phạm
Monday, Feb 17, 2025- 7PM

A small town. A once in a century storm. Three women gather to make sandwiches for
neighbors who have been displaced from their homes by floods. As they contend with the
damage of the storm, they learn what brings them together and threatens to tear them apart. Is their friendship strong enough to make it through the night?

Dawn
by Tuyết Thị Phạm
Directed by Raymond Caldwell
Monday, Apr 7, 2025- 7PM

Mary, a first-generation Cambodian American, struggles with guilt, anger, and grief of
generational trauma as she tries to unpack her parents’ experiences as survivors of the
Cambodian genocide under the Khmer Rouge and Pol Pot, having lost their first child in a bomb raid. Mary’s parents, one Catholic and one Buddhist coped differently with their grief, and Mary must find a way to reconcile her own beliefs and with theirs to find a path to healing.

For more information and tickets, please click this link.

After several years of pandemic woes and leadership churn, Baltimore Center Stage is promising a fresh and ambitious start, led by artistic director Stevie Walker-Webb.

As the inaugural play of Walker-Webb’s inaugural season, “Oh Happy Day!” certainly delivers — and it’s more than appropriate that it’s a riff on Noah’s Ark, the ultimate do-over tale.

The 90-minute world premiere, written by and starring Jordan E. Cooper, takes place in modern-day Mississippi and dives deep into questions of love and family, church and God, identity and free will.

All these themes sound heavy — and they are — but the play itself is uplifting and funny, propelled by a tight, witty script, dare-you-to-stay-seated original songs by gospel composer Donald Lawrence, and the luminous (and more than a little sassy) stylings of the choir, Latrice Pace as Glory Divine, Tiya Askia as Mighty Divine and Courtney Monet as Holy Devine.

The action starts when Keyshawn, played by Cooper, returns to the family that kicked him out as a teenager. He blames them for his life of prostitution and drug use, and they blame him for outing their pastor and costing family patriarch Lewis (James T. Alfred) his job at the church.

Meanwhile, Keyshawn’s sister Niecy (Tamika Lawrence) is getting no gratitude for holding the family together while raising her son Kevin (Justin Sturgis). Even the meat she barbecues is roundly critiqued as too tough to swallow.

When Keyshawn’s return goes horribly wrong, God appears (in several different guises), instructing him to build an ark in order to save his family and himself. But can Keyshawn forge new connections to a family and church that don’t accept him? And does he even want to?  

The biblical story of Noah’s Ark probably lives in many people’s mind as a tale of cute animals marching two-by-two to safety.

“Oh Happy Day!” dispenses with the animals and instead delves into its complicated themes of redemption and connection through the words and actions of deeply flawed people who are struggling to do the right things. Keyshawn and his family, like Noah and his, are not sin-free. God isn’t so perfect either, at least not in a way that humans can understand.

They try, though, often getting tangled in their own logic. One of the best exchanges is when Keyshawn and his father are arguing about the famous phrase in Leviticus, the one claiming that a man lying with a man is “an abomination.”

Keyshawn argues that the same book also says that eating pork and shellfish are sins, and Lewis walks right into the trap, yelling at his son that “being gay and eating sausage are not the same thing.” Cooper tilts his head for the perfect beat, getting a big laugh without saying a word.

The set, until a surprise at the end, never changes, with all the action taking place in the yard of a humble home that’s both a blessing and a curse to this troubled family. A barbecue grill, cooler, and a few chairs are among the few simple props. Dramatic lighting and ominous rumbles convincingly portray the storms and strife.

Cooper, just 29 years old, is already a big deal, the youngest Black American playwright on Broadway with his Tony-nominated Ain’t No Mo’ (directed by Walker-Webb) and multiple Emmy nominations for The Ms. Pat Show, on BET, which he created, directs and executive produced.

As Walker-Webb noted, Cooper could have taken his new play anywhere, but he chose Center Stage and Baltimore for its debut before it goes to the Public Theater in New York City. At the curtain call, the two men hugged for a solid, emotional minute; there may have been tears.

Together, they have created something new out of something old, a new piece of art based on one of the oldest tales we know, and maybe a new chapter for Center Stage and Baltimore after a few years of choppy water.

“Oh Happy Day!” originally set to run through October 13, has been extended through October 20. Find tickets online at www.centerstage.org.

Lyric Baltimore is transitioning away from their current ticket provider, Ticketmaster, and entering a new partnership with independent ticket provider Etix.

Etix’s web-based ticketing system sells admissions both online and on-site.

“As an historic independent venue, we’re always looking for ways to stay closely connected with our patrons,” said Steve Palmer, Chairman of the Lyric Foundation Board of Trustees, in a statement. “This exciting partnership will make it easier for customers to access tickets and engage with us. Etix provides the personalized, seamless experience that our audiences deserve.”

Collaborating with Etix is latest effort by Lyric Baltimore to improve customer service. In early 2024, the Lyric installed a $500,000 sound system that matches its amplification and sound technology with the historic venue’s unique acoustics, giving patrons the best possible sound quality.

“Etix’s dedication to supporting and uplifting independent venues perfectly aligns with our core mission to provide world class entertainment to the people of Baltimore and beyond,” said Chris Heacock, general manager at the Lyric. “As we continue to elevate our role in Baltimore’s arts community, our partnership with Etix will enable us to better serve our patrons by streamlining ticket access and ensuring a convenient, user-friendly experience.”

In May 2024, Maryland joined 28 other states, the District of Columbia, and the Justice Department in an antitrust lawsuit against Ticketmaster and Live Nation Entertainment (Ticketmaster’s parent company.) The lawsuit claims Live Nation has violated federal and state laws, including Maryland’s. Ticketmaster and Live Nation are alleged to hold a monopoly in the live entertainment industry that hurts fans and concertgoers, in addition to engaging in unscrupulous business behavior in Maryland regarding Oak View Group, which owns and operates Baltimore’s CFG Bank Arena.

Starting Oct. 1, all ticket sales for Lyric events and performances will be processed through Etix and available online at lyricbaltimore.com and etix.com.

If a customer has already bought tickets through the Lyric’s previous ticketing system through Ticketmaster, they will be notified directly with instructions on how to obtain their new tickets within the Etix platform.

“Etix is deeply committed to preserving the legacy of independent venues, and fundamentally understands the need for agile technology that doesn’t sacrifice the core mission and values of historic community spaces,” said Etix CEO and founder Travis Janovich in a statement. “We are excited and proud to partner with the Lyric and its long-standing tradition of bringing unforgettable performances to the Baltimore community.”

Tickets went on sale Friday for Disney’s “The Lion King” musical, which is coming to the Hippodrome Theatre next year.

The production will roar into Baltimore for a three-week engagement from Feb. 12, 2025 through March 2, 2025.

Showtimes will be Tuesdays through Thursdays at 7:30 p.m.; Fridays at 8 p.m.; Saturdays at 2 p.m. and 8 p.m.; and Sundays at 1:30 p.m. and 6:30 p.m. There will be a 2 p.m. matinee on Feb. 13.

“The Lion King” musical won six 1998 Tony Awards, including Best Musical that year.

It is North America’s longest-running and most-attended Broadway tour, having welcomed more than 23 million audience members over its more than 22-year run so far.

The musical features Elton John and Tim Rice’s songs from the 1994 animated “The Lion King” film, plus three new songs by John and Rice. It also includes musical material by South African Lebo M, Mark Mancina, Jay Rifkin, Julie Taymor and Hans Zimmer; and selections written by Lebo M, Mancina and Zimmer from the album “Rhythm of the Pride Lands,” which was inspired by the film’s original music.

The launch of ticket sales Friday comes days after the death of actor James Earl Jones who, among his extensive and impressive acting career, provided the voice for Mufasa in the 1994 “The Lion King” film. Jones was 93 years old.

To purchase tickets to “The Lion King” at the Hippodrome Theatre, visit BaltimoreHippodrome.com or Ticketmaster.com. Patrons can also visit the theatre’s box office in person at 12 N Eutaw St., which is open Monday through Friday from 11 a.m. to 3 p.m., and on show days from 11 a.m. until showtime. Groups of 10 or more should email BaltimoreGroups@BroadwayAcrossAmerica.com or call 888-451-5986.

Kicking off their 2024/25 season, Baltimore Center Stage will present the world premiere of “OH HAPPY DAY!” from Sept. 19 through Oct. 13.

Written by and starring two-time Tony nominee Jordan E. Cooper, the play is a new take on the story of “Noah’s Ark.” But for the family at the center of this piece, a looming flood is the least of their troubles.

The play is set in Laurel, Mississippi, during a barbecue birthday party for family patriarch Lewis (played by James T. Alfred), where his estranged son Keyshawn (played by Cooper) makes a surprise appearance. Family secrets find their way to light and upend everything.

Cooper and Baltimore Center Stage Artistic Director Stevie Walker-Webb last worked together on Cooper’s first play, “Ain’t No Mo’,” on Broadway.

“It’s incredible that BCS will be the home to the world premiere of OH HAPPY DAY!, written by my good friend, Jordan E. Cooper,” Walker-Webb said in a statement. “Audiences should come to see this hilarious new play, featuring new music by the iconic Donald Lawrence, to be entertained and uplifted and to see things familiar and wholly unexpected.”

The production contains original songs by Donald Lawrence, the creative mind behind Grammy Award-nominated songs “The Blessing of Abraham” and “Encourage Yourself.” Lawrence has collaborated with Mary J. Blige, worked as musical director for Broadway star Stephanie Mills, served as vocal coach to the R&B group En Vogue, and earned several accolades.

Cooper was featured in Forbes’ 30 Under 30 list this year. He also co-created, executive produces and directs the Emmy-nominated and critically acclaimed “The Ms. Pat Show.”

Audiences can purchase tickets online at centerstage.org, by calling 410-332-0033, or by visiting Baltimore Center Stage’s box office at 700 N. Calvert St.

Primetime Emmy Award winner Lena Waithe will host the Community Night performance on Sept. 20. On that night, tickets cost only $5 with the promo code BCSCOMMUNITYNIGHTS.

Other cast members of “OH HAPPY DAY!” include Tamika Lawrence as “Niecy,” Justin Sturgis as “Kevin,” and Latrice Pace, Courtney Monet and Tiya Askia as “The Divines.”

The creative team includes Walker-Webb as Director, Antwan Hawkins (aka Greeyo) as Assistant Director, Daniel Rudin as Music Director, Charlique C. Rolle as Choreographer, Luciana Stecconi as Scenic Designer, Celeste Jennings as Costume Designer, Adam Honore as Lighting Designer, Taylor J. Williams as Sound Designer, Jack Golden as Assistant Scenic Designer, Channing Tucker as Assistant Costume Designer, Shannon Clarke as Associate Lighting Designer, Jakob Plummer as Production Stage Manager, Monet Tibou as Assistant Stage Manager, and Sharon Zheng as Production Assistant.

The producers of ‘Water for Elephants’ will launch the show’s first national tour from Baltimore’s Hippodrome Theatre in the fall of 2025.

The announcement, first made this week on Playbill.com, means the stage musical will be the fourth Broadway show to launch from the Hippodrome since Maryland’s General Assembly in 2022 approved the Maryland Theatrical Tax Credit Program. The program, which went into effect on July 1, 2022, was designed to encourage theater producers to start national touring productions or set pre-Broadway runs in Maryland.

The local economy benefits when national productions originate in Maryland because casts and crews spend time in the state for rehearsals, set-building, costume design, and other preparations, which supports hotels, restaurants, and other businesses.\

Local tie

Local and regional theater patron Terry Morgenthaler is a co-producer of ‘Water for Elephants’ and helped bring it to Baltimore.

“The reason I was one of the early investors of ‘Water for Elephants’ is that the story is universal…love and loss.  We all know it and experience it. And I was convinced that the musical would have a stunningly beautiful visual and audio life beyond the original written bestseller,” Morgenthaler said in an email.

“When discussions of a national tour began, I mentioned to our brilliant lead producers, Jennifer Costello and Peter Schneider, that Baltimore would be a terrific market for this kind of show.  And also, knowing the team at the Hippodrome pretty well, ‘Water for Elephants’ will receive top-of-the-line support and production efforts necessary to mount such a physically demanding production,” she explained. “This is a huge win for our theater-loving city and our Tony-nominated show.  I truly could not be more pleased.”

Morgenthaler served for five years as the chair of the board of trustees of Center Stage and another 20 years as a trustee.

Try-out town

Baltimore was well known as a “try-out” town when the Morris A. Mechanic Theatre was the city’s main venue for Broadway shows but the Mechanic Theatre was replaced in 2004 by the renovated Hippodrome Theatre, part of the France-Merrick Performing Arts Center at 12 N. Eutaw Street. The Mechanic Theatre was torn down starting in 2014, and the site at Charles and Baltimore Streets remains a hole in the ground 10 years later.

Since becoming president of the France-Merrick Performing Arts Center 10 years ago, Ron Legler has made it a goal to encourage producers to start their productions in Baltimore at the Hippodrome. He was instrumental in pushing for the tax credit legislation that has enabled Maryland to compete with other states that have similar programs.

Other shows that have originated at the Hippodrome, or announced plans to do so, include ‘The Wiz,’ in the Hippodrome’s 2023-2024 season, and ‘& Juliet” and “Life of Pi,” planned for the Hippdrome’s 2024-2025 season.

“We are delighted to announce the national tour launch of WATER FOR ELEPHANTS at the Hippodrome Theatre at the France-Merrick Performing Arts Center,” Legler said in a post on social media.

“Having witnessed this extraordinary production firsthand, I am confident that it will captivate Baltimore audiences,” he said. “We are thrilled that Maryland has been chosen as the exclusive premiere location for this tour.”

Legler also gave credit to state legislators and officials for creating and administering the tax credit program.

“We extend our sincere gratitude to the Maryland Department of Commerce for their support through the Theatrical Tax Credit,” he said. “This incentive is instrumental in attracting major productions to our state and providing crucial employment opportunities for our union workers during typically slower seasons. We look forward to welcoming the cast, crew, and creative teams to Charm City as the build and launch this beautiful production next fall.”

Seven Tony nominations

‘Water for Elephants’ had its world premiere at Alliance Theatre in Atlanta from June 7 to July 9, 2023. It officially opened at Broadway’s Imperial Theatre on March 21, after beginning previews on February 24. Starring Grant Gustin and Isabelle McCalla, the Broadway show was nominated for seven 2024 Tony Awards, including Best Musical.

Based on a novel by Sara Gruen, the musical tells the story of a man who runs away from his life, only to find himself caught up in a traveling circus. It follows a 2011 film adaptation of the novel that starred Reese Witherspoon, Robert Pattinson and Christoph Waltz.

The cast and complete touring itinerary for the national production haven’t been announced yet. Ghostlight Records will release the original Broadway cast recording on August 16.

“Audiences are gasping on the edge of their seats eight times a week at ‘Water for Elephants’ on Broadway, and we now have plans in place to bring this full, gorgeous spectacle to theaters everywhere,” Playbill quoted Schneider as saying. “We are thrilled to now be able to share this dazzling production by Jessica Stone and her creative team with the rest of North America.”

It’s human nature to want to see the smash hit musical, “MJ,” so if you are excited by the news that it is coming to the France-Merrick Performing Arts Center, home of the historic Hippodrome Theatre, know that you are not alone. It is set to make its Baltimore premiere Nov. 12 – 17.

Individual tickets are on sale now for the multiple Tony Award-winning musical centered around the making of Michael Jackson’s 1992 Dangerous World Tour. Widely praised as one of the greatest entertainers of all time, Michael Jackson’s singular moves and signature sound that make people want to rock with you, jam, and even leave blood on the dance floor gets a rare look in this show.

His creative mind and collaborative spirit catapulted him to legendary status in the music and dance world, and the creators of “MJ” remember the time when Jackson was the King of Pop. He began performing in 1964 as a member of the Jackson 5 with his older brothers Jackie, Tito, Jermaine, and Marlon. By 1968 they had signed with Motown and Michael Jackson was the lead singer.

In 1971 he began his solo career and was well on his way to becoming a global icon with his 1979 album “Off the Wall.”  The album “Thriller” — the best-selling album of all time — cemented his status with the songs “Billie Jean,” “Beat It”, and “Thriller.” He popularized the dance move the “moonwalk,” and somehow made wearing one glove amazingly cool.

Jackson’s album “Dangerous” is from 1991 and is the subject of “MJ.” It is playing to sold-out crowds on Broadway, in cities across North America, and in London’s West End. Beginning July 30, Jamaal Fields-Green will assume the title role of “MJ” after being the first and only person to achieve the distinction of playing the role in all three global productions: on Broadway, on the National Tour, and in London’s West End.

Ticket prices start at $79 and can be purchased at BaltimoreHippodrome.com, Ticketmaster.com or the Hippodrome Box Office (12 N Eutaw Street) Monday through Friday, 11 a.m. – 3 p.m. and show days 11 a.m. to showtime. Groups of 10 or more should contact BaltimoreGroups@BroadwayAcrossAmerica.com or call 888-451-5986.

Will you be there?

What if Juliet didn’t end it all over Romeo? The musical “& Juliet” at the France-Merrick Performing Arts Center answers just that.

The production’s North American tour will launch from Baltimore’s Hippodrome Theatre at the France-Merrick Performing Arts Center, with eight performances from Sept. 22-28. Tickets go on sale Friday at 10 a.m.

In the show, Juliet explores the life she could have had — filled with even more romance and proof that there’s in fact life after Romeo. Broadway star Rachel Webb will take on the role as Juliet. 

The musical will feature pop anthems by the Grammy award-winning producer and songwriter Max Martin. It will also flourish in comedy rather than tragedy.

“& Juliet” opened on Broadway in November 2022 and has broken box office records and played in front of sold-out crowds.

The Broadway production was nominated for nine Tony Awards in 2023.

Miriam-Teak Lee, who starred as Juliet in the original production when it premiered at the Manchester Opera House and later in the West End, won a Laurence Olivier Award for Best Actress in a Musical in 2020, among other awards bestowed upon the musical.

Fairies, sprites, and other Shakespearean characters could be coming to a park near you.

For its second year, the Chesapeake Shakespeare Company is hosting its “Shakespeare Beyond” series, with free performances of William Shakespeare’s “A Midsummer’s Night Dream” in Maryland parks.

“This is a beautiful, accessible, magical and fun story that works really well in an outdoor setting,” said Séamus Miller, the production’s director and CSC’s Associate Artistic Director. “The play itself is one of Shakespeare’s most famous plays, and one that audience members might have some familiarity with, but we wanted to take a show that people may or may not know and add another layer of fun and excitement and accessibility to it.”

The theater company will pair the Shakespearean classic with a Motown score, featuring music from the ’50s, ’60s, and ’70s performed by a live band.

Miller said Motown music has a strong historical connection to Baltimore, so it was a natural fit for “Midsummer.”

“I think it is particularly relevant for our audience as we go through different parks around Baltimore City,” he said. “And it was a chance for us to celebrate amazing Black American musicians and that tradition. We have a predominantly Black cast, and we wanted to showcase that musical style and that genre for the tour this year.”

The cost of attending theatrical performances can be prohibitive for some would-be audience members. That’s why CSC felt it was important to offer these performances for free and in an accessible, community space like a park, Miller said.

“I always bring up what I call the loaf of bread principle, which is that in Shakespeare’s England, if you went to go see the first production of ‘Romeo and Juliet’ in 1595 that ticket price was one penny, which was the same cost as the price of a loaf of bread,” he said. “Nowadays, tickets for theater can be $60 or $80 or $100 which is not necessarily enough to pay for the price of the production, but it is enough money to keep a lot of people away. We’re trying to avoid that and undercut that and provide something that is professional and really high quality, but also free and in public and accessible to everybody.”

Hosting the performances outdoors also offers a unique setting for this production.

“Within the story, the lovers run away from the court and the city and their parents and have this magical, transformational journey into the woods,” Miller explained. “So a big part of the action of the play is going away from the city and out into nature. The magic and hilarity that ensues is really that of the natural world and not of the human world.”

He added, “They’re also getting away from the indoors and their devices and our heavily digital, disconnected world, and going outside and having this analog, in-person, communal experience that can be quite moving and effective and helps us connect as a community outside together in the city that we live in.”

CSC visits parks with its “Shakespeare Wagon,” a truck that has been retrofitted for its sides to open out and have the stage built from the interior of the vehicle. The setup takes about 90 minutes, and can be taken down just as quickly, making it easy for the theater company to travel throughout Baltimore and beyond.

The first performance of this year’s “Shakespeare Beyond” series took place in Carroll Park, in southwest Baltimore. Miller said the turnout was beyond what they anticipated.

“We didn’t know how many people to expect at Carroll Park, and we wound up having almost 200 audience members show up for the opening performance,” he said. “It’s very fun and informal. Some guests brought a crab feast to have outside during the show and that’s absolutely fine with us.”

The next performance will take place Thursday, July 11 (tonight) at Martin Luther King Jr. Rec Park in Silver Spring, with ASL interpretation. Performances will run through Aug. 2 at parks across the Baltimore and D.C. areas.

For a full list of performance locations and dates (including raindates), click here.