Arlington’s Signature Theatre will put its musical foot ahead completely on-line within the first half of 2021.


“It’s a assertion of what’s possible at this second in time and what’s possible artistically,” Managing Director Maggie Boland mentioned, in a Zoom name with different key staffers, together with longtime Affiliate Inventive Director Matthew Gardiner. “We’ve got to be as economical and bold as we might be.”

Because the widespread shutdown of efficiency areas final March, theater firms have needed to scramble programmatically — drawing up plan after plan for returning to stay manufacturing, solely to must erase these proposals because the pandemic worsened. Signature’s new agenda for the approaching months appears comparatively foolproof: As Boland and Gardiner defined, the exhibits are being filmed, with enhanced cinematic prospers, within the bigger of Signature’s areas, the Max.

Subscribers can pay $200 for the five-show, on-demand bundle, with a timetable to start in January and agency dates for the productions’ multiweek runs to be introduced because the winter and spring unfold. The primary providing, which has already been placed on movie, is a nod to Signature’s most entrenched custom, an embrace of the work of composer-lyricist Stephen Sondheim. The brand new version of “Merely Sondheim” — a cabaret manufacturing unveiled in 2015 to mark the corporate’s 25th anniversary — is a newly imagined model with 30 Sondheim songs staged Gardiner.

It contains a 16-piece orchestra and a forged of 12: Washington artists similar to Donna Migliaccio and Awa Sal Secka and New York-based performers, together with Norm Lewis, Conrad Ricamora and Emily Skinner. (Migliaccio, for instance, will sing Mrs. Lovett’s “The Worst Pies in London” from “Sweeney Todd”; Skinner, “The Girls Who Lunch” from “Firm.”)

Three just lately developed exhibits, some in new incarnations, will observe. So as: Daniel J. Watts’s “The Jam: Solely Little one,” the story, in spoken phrase and music, of the performer’s upbringing because the youngster of a single dad or mum. A sold-out hit final January at New York’s Public Theater, it will likely be directed once more Liliana Blain-Cruz, just lately appointed resident director for Lincoln Middle Theater.

Then comes “Midnight on the By no means Get,” Mark Sonnenblick’s two-character chamber musical set at a homosexual nightclub in Greenwich Village in 1965. Gardiner will direct this new model of the piece, which was produced off-Broadway’s York Theater Firm at St. Peter’s in 2018.

Following that will likely be Signature’s rendition of the Broadway-tested “After Midnight: Celebrating the Duke Ellington Years,” an anthology of the music of Ellington, Jimmy McHugh, Dorothy Fields and Harold Arlen. The director-choreographer is Jared Grimes and music route is Mark G. Meadows. And finishing the net season is a play Dominique Morisseau (“Skeleton Crew”): “Detroit 67,” a five-character drama that takes place amid the riots within the Motor Metropolis throughout the summer time of 1967.

The on-demand choices are the primary take a look at of a post-Schaeffer Signature, which is engaged in a nationwide seek for a brand new creative director. Boland describes this transitional interval as “fairly seamless,” partly as a result of the remainder of the manager workforce has been collectively for years. “Matt has had a seminal creative function at Signature for a decade,” she mentioned. Gardiner, for his half, mentioned that no matter how this on-line rollout is acquired, “we all know we’re placing artists to work. It has made me really feel like we have now given them objective.”



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