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Tag: arena stage

  • Tony Award-winning Myles Frost proves you can go home again in DC showing – WTOP News

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    After making history as Broadway’s youngest Tony-winning leading actor, Silver Spring native Myles Frost takes the stage closer to home in “Chez Joey,” blending classic musical theater with a bold, modern twist.

    Not many people can say they are living their dreams, but Wootton High School graduate Myles Frost is not just anyone.

    The 26-year-old native of Silver Spring, Maryland, made history in 2022 by becoming the youngest person to win the Tony Award for Best Performance by a Leading Actor in a Musical for his role as Michael Jackson in “MJ: The Musical” on Broadway in June 2021

    Now, Frost is starring in “Chez Joey” at the Kreeger Theater at Arena Stage in D.C. through March 15. The musical is co-directed by actor Tony Goldwyn and dancer Savion Glover, and is a reimagining of the 1940 Richard Rodgers and Lorenz Hart musical “Pal Joey.”

    During an interview with WTOP, Frost said that performing close to home feels amazing.

    “Having started on Broadway in New York, a lot of my family and close friends weren’t able to make the trip,” Frost said. “I actually think it’s better this way, because I was able to gain so much experience and work ethic. I’m coming home as a more curated performer.”

    The journey did not start that long ago. Four years after not having any of the coaches spin their chairs around for him during his time as a contestant on The Voice, Frost was cast as Jackson in “MJ: The Musical.”

    The musical’s producers had discovered a video of Frost singing Michael Jackson’s “Billie Jean” from a high school talent show on YouTube.

    “That’s why I feel so bad sometimes. When parents are like, ‘I want my child to do it the way you did it.’ I’m like, ‘good luck,’” Frost said with a laugh. “It just shows that it doesn’t matter what your situation is, that if you’re supposed to be somewhere doing a specific thing, you’re going to get there.”

    During Frost’s run in the show, he said he met icons like Stevie Wonder, Madonna and Jackson’s family.

    At the time, Frost was 22 and received the same award that legends like Jackie Gleason, Zero Mostel, Gregory Hines and Nathan Lane had taken home; and he did it by beating Billy Crystal and Hugh Jackman.

    As big of an accomplishment as that was, there was another group Frost was thrilled he pleased.

    “Being accepted by Michael’s fans. I think that’s one of the biggest things because they do not play about Michael,” Frost said.

    Now, instead of performing as the King of Pop in the nearly 1,500-seat Neil Simon Theatre in New York City, Frost takes the stage at the Kreeger Theater, which has a little over 500 seats.

    “Chez Joey” takes place in Chicago during the 1940s, and Frost portrays Joey Evans, a slick-talking, velvet-voiced singer who has to choose between his heart and his dreams.

    “You can insert whomever there, a young Sammy Davis Jr. or a Nicholas Brother,” Frost said. “That’s that time period where all of these legends were born.”

    With the show being set in a small club, Frost believes the theater’s size is an advantage.

    “I think that intimacy is important because when you sit down, you really feel like you’re entering the atmosphere of the club, and that’s how we’re treating it,” Frost said.

    With songs like “Lady is a Tramp,” “What Is a Man” and “Bewitched, Bothered and Bewildered,” the play will feel familiar, but with Frost’s performance, they’ll sound like they came out this century with a bold, fresh twist.

    WTOP’s Joe Yasharoff contributed to this report.

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    © 2026 WTOP. All Rights Reserved. This website is not intended for users located within the European Economic Area.

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    Jimmy Alexander

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  • Regional theaters see boost amid Kennedy Center changes – WTOP News

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    Regional venues, such as Olney Theatre and Signature Theatre, report surging ticket sales, increased donations and growing interest from performers seeking alternatives to the Kennedy Center.

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    As the Kennedy Center faces controversy, local theaters get more support

    The Kennedy Center has faced a turbulent year that has included leadership shake-ups, artist boycotts, falling subscriptions and even a name change adding President Donald Trump’s name to the building.

    As controversies continue to surround D.C.’s iconic performance venue, other theaters in the region are seeing more interest and, in some cases, fielding inquiries from performers and groups who may have worked at the Kennedy Center and are seeking new venues.

    “We have been notified by our donors. About $50,000 worth of donations have come our way from people who would have put that money toward the Kennedy Center but have since decided to invest in us,” said Debbie Ellinghaus, executive director of the Olney Theatre Center in Olney, Maryland.

    Ellinghaus said ticket sales were strong during the holidays, but said it’s hard to know if that’s tied to the ongoing situation at the Kennedy Center. She said there is also a renewed interest in regional theaters and community-driven productions as many look for venues other than the Kennedy Center, which is a major touring house in the region.

    “There’s an opportunity for us to remind our community, and perhaps in many instances, maybe share for the first time what a nonprofit regional theater is, and why we are so integral and important in our community,” Ellinghaus said.

    In Arlington, Maggie Boland, managing director of Signature Theatre, said the theater is in a period of “really strong” ticket sales with its two musicals — “Fiddler on the Roof” and “In Clay” — completely sold out.

    Boland said she can’t speculate on why audiences are choosing Signature, but noted that regardless of the reason, the theater is selling more tickets.

    “Whether it has anything to do with the current conditions or not, I am really pleased to say we are selling more tickets and bringing in more revenue right now than we have in prior years,” Boland said.

    She also said December was a strong month for fundraising, noting that successful productions often drive donations.

    While Signature focuses on its own productions, Olney Theater does bring in other performances and hopes to do more as it nears completion of a $37 million expansion. Ellinghaus said over the past few weeks her “phone rings frequently for rentals or collaborations,” as performers and groups look for alternative venues.

    ‘The arts community is really rich and varied’

    At D.C.’s Arena Stage, Artistic Director Hana S. Sharif said there isn’t data yet to show a trend, but what may be connected to the Kennedy Center situation is what they’re hearing from theatergoers.

    “We’ve heard from patrons who were really excited about us staying on mission with our work, staying invested in community engagement, staying true to our 75-year-old roots and what we’ve seen is an influx of support that was directly related to our clarity of mission and focus,” Sharif said.

    At Strathmore in North Bethesda, Maryland, president and CEO Monica Jeffries Hazangeles said there has been a slight shift of shows to the venue, but nothing big enough to be considered a real trend yet.

    “Most of those decisions, though, are based on really technical production requirements and seating capacity and date inventory,” Hazangeles said.

    Sharif said while it has been “heartbreaking” to see some big performers not choose to come to D.C., the theater community has been stepping in where it can.

    “I’m watching my peers across the board fill in gaps of areas where the Kennedy Center was really helping support the ecosystem,” Sharif said.

    She said the theater community is also close-knit when it comes to staff and performers impacted by the changes.

    “As soon as there started to be shifts happening at Kennedy Center, I think that the response from the rest of the peers was one of real support. Understanding that those are our colleagues. These are people that we’ve worked with in different capacities for many years across projects,” Sharif said.

    Beyond the headlines surrounding the Kennedy Center, Boland said it’s important to note that the arts are alive and well in the D.C. area, and theaters work together to thrive.

    “So, a success at Arena Stage or Shakespeare Theater is good news for Signature and vice versa,” Boland said.

    Hazangeles said she believes the arts community in the region right now is rich, diverse and overall healthy.

    “Each of our nonprofit venues serves artists and audiences in different ways, and so our whole ecosystem, if you will, depends on multiple thriving institutions,” Hazangeles said.

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    Mike Murillo

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  • Tony-winning hair and wig designer brings ‘Jaja’s African Hair Braiding’ from Broadway to Arena Stage – WTOP News

    Tony-winning hair and wig designer brings ‘Jaja’s African Hair Braiding’ from Broadway to Arena Stage – WTOP News

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    “Jaja’s African Hair Braiding” recently competed for Best Play at the Tony Awards in June. This Friday, the acclaimed Broadway comedy hits Arena Stage in D.C. now through Oct. 13.

    WTOP’s Jason Fraley previews ‘Jaja’s African Hair Braiding’ at Arena Stage (Part 1)

    “Jaja’s African Hair Braiding” recently competed for Best Play at the Tony Awards in June.

    Victoire Charles (Jaja)
    and Jordan Rice (Marie) appear in “Jaja’s African Hair Braiding” at Arena Stage. (Tony Powell)

    This Friday, the acclaimed Broadway comedy hits Arena Stage in D.C. now through Oct. 13.

    WTOP caught up with the Nikiya Mathis, who won a Special Tony for her hair and wig design.

    “I was blessed this year to win a historic Tony because there actually is no category for hair and wig makers, so I am actually the first person ever to win a Tony for my wig design,” Mathis told WTOP. “They actually announced it before the awards so I was fortunate enough to know that I was going to the Tony Award and I could tell my mom, ‘I’m winning.’ … That was freaking amazing, but I was still nervous to hear what other categories we might win.”

    In addition to Mathis’ special award, the show earned five other Tony Award nominations, including the top prize of Best Play (Jocelyn Bioh), Best Direction (Whitney White), Best Scenic Design (David Zinn), Best Sound Design (Stefania Bulbarella and Justin Ellington) and a victory for Best Costume Design (Dede Ayite).

    “I feel like all of those people should have won,” Mathis said. “We could have totally swept across the board because there are some amazing collaborators on this project. Jocelyn wrote such an amazing show, Whitney really created an atmosphere that we all thrived in. … I feel like we all worked really closely in tandem.”

    Written by Bioh, the show is set in Harlem following the escapades of Marie, Bea, Miriam, Aminata, Ndidi, Jaja and others as they navigate life, laughter, cultural identity and the American dream in Jaja’s bustling hair salon.

    “You really see a day in the life of these hair braiders, which is exciting because no play like this has ever been written,” Mathis said. “The life of a hair braider, especially for Black women or any woman who has gone to a hair salon, knows what it is to have so many different personalities. … One hair braider or stylist, you might go to one, but then you see that you like the work of another. … We’ll have a little drama amongst the hair braiders.”

    The salon is the perfect setting for hilarious banter as a gathering place for the community.

    “When you rub one personality that is completely opposite of another personality against each other, that is just space for comedy, especially when people don’t hold back their opinions when they should,” Mathis said. “We also have character work being done and there are people playing various characters, so that’s always fun trying to navigate accents and character transformations. There’s just a lot of jokes and a lot of laughter in the play.”

    When you’re not busy laughing, you’ll be marveling at the stage magic of constant hairstyle changes.

    “You’ll see the magic of Black women going from their natural hair to, let’s say, micro braids, corn rows — how the heck does that happen?” Mathis said. “That’s really the magic of the show. It’s the magic of the character work and comedy, but also the magic of how do we transform hair to completely different styles without leaving the stage?”

    Find more information here.

    WTOP’s Jason Fraley previews ‘Jaja’s African Hair Braiding’ at Arena Stage (Part 2)

    Listen to our full conversation on the podcast below:

     

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    © 2024 WTOP. All Rights Reserved. This website is not intended for users located within the European Economic Area.

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    Jason Fraley

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