By Randy Shulman on February 11, 2016 @RandyShulman

Joel Grey and Alan Cumming have a surprising amount in common.
Both are part of the LGBT community, though Grey is a more recent addition, having publicly come out last January.
Both own small dogs — Grey, a Chihauhua named Nicky and Cumming, a Chihuahua-Rat Terrier mix named Jerry.
Both have written memoirs. Cumming’s — Not My Father’s Son — was published in 2014 while Grey’s — Master of Ceremonies — reaches Amazon in a few weeks.
Both have found success on television. Grey has enjoyed almost 60 years of television appearances, including guest arcs on both Alias and Buffy the Vampire Slayer, while Cumming has brought to life, with brilliant, vivid nuance, the Emmy-nominated role of Eli Gold on CBS hit The Good Wife.
Both have had astonishing stage careers. Grey originated the role of The Wizard of Oz in Wicked and Amos Hart in Chicago, while Cumming has played in everything from Hamlet to Bent to The Threepenny Opera. But their Broadway link lies with Kander and Ebb’s classic Cabaret: Each won a Tony Award for playing The Emcee. Grey originated the showy — and show-stopping — part in the original Broadway production in the ’60s (and later in the 1972 film, for which he took home an Oscar). Years later, in 1998, Cumming won a Tony for darker, more sexualized take on the part.
And both are coming to our city: Cumming, 51, will be at Strathmore on Valentine’s Day — Sunday, Feb. 14 — with his critically heralded cabaret, Alan Cumming Sings Sappy Songs, while the 83-year-old Grey will settle into the Historic Sixth & I Synagogue on Feb. 23, for an in-depth conversation about his book, his life, and his remarkable career.
Could you wish for a more perfect pairing?
By André Hereford on August 15, 2026 @here4andre
On a blanket, beneath the stars on a sultry summer night is a great place to let the free-spirited folk music of Woody Guthrie's American Song wash over you. Still, I chose a comfortable lawn chair (available for $5 rental) at Theater Alliance's outdoor production of the musical biography, conceived and adapted by Peter Glazer from the songs and writings of trailblazing troubadour Woody Guthrie.
Director Tim Seib stages the show fluidly on a pop-up stage at the Wharf Waterfront Park, a moderately manicured patch of grass tucked between luxury condos and the Washington Channel. The hum of cicadas in the trees blends with the voices of the nine-person ensemble, most of whom also play guitar, fiddle, bass, mandolin, or keys, performing Jeff Waxman's lively arrangements of the Guthrie songbook.
By André Hereford on September 8, 2026 @here4andre
The trusty stewards of Stephen Sondheim at Signature Theatre roll into a new season, unpacking the maestro’s demanding but rewarding musical Merrily We Roll Along.
The show, with music and lyrics by Sondheim and a book by his Company collaborator George Furth, tells a haunting showbiz tale in reverse chronological order, charting a best friendship from after it’s ended, back to where it began. Merrily often finds its characters making merry, but at its heart it’s a breakup story, tinged with regret, suited to Sondheim’s minor-key melodies.
The score is also full of bold, brassy flourishes, not unlike Signature’s new production, staged and choreographed by artistic director Matthew Gardiner. In tone, performance, and design, the production captures Merrily’s tension between glamour and heartache, success and regret.
By André Hereford on September 21, 2026 @here4andre
Life looks alright in America to Reina, a desperate but starry-eyed teen mom in rural El Salvador who sets out for the U.S. in Brian Quijada's brilliantly conceived Somewhere Over the Border.
As hinted in the title, this musical, with book, music, and lyrics by Quijada, reshapes the familiar narrative of The Wizard of Oz into Reina's perilous journey of escape from poverty, violence, and political unrest in her homeland, to the gleaming American dream.
It's a deceptively simple concept that Quijada elaborates with incisive drama, tart wit, and consistently smart choices in how he fuses L. Frank Baum's Oz characters to Reina's story, inspired by his own mother's immigrant journey to the U.S. in the 1970s.
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