There is a moment every December when Christmas arrives for me. This year, it was during the 53rd Annual Kennedy Center Messiah Sing-Along, drawn from Handel’s oratorio and brought to life under the baton of Dr. Nancia D’Alimonte, Music Director.
Music Director, Nancia D’Alimonte, delights in performer excellence and audience participation
Nancia’s conducting felt both deeply personal and profoundly communal. She engaged each musician with intention, while simultaneously holding the entire hall in shared purpose. Four choirs, including members of the New Dominion Chorale, Northern Virginia Community Chorus, Thomas Circle Singers, and Vocal Arts of Fairfax joined forces with the Kennedy Center Opera House Orchestra, and a hall of approximately 2,500 singing audience participants.
Nancia wrote on her social media, “Last evening, I conducted the Messiah Sing-Along at the Kennedy Center to a very enthusiastic audience who sang their hearts out! It was an opportunity to bring joy to so many who really needed it . . . and that is what happened – a joyful event! “
This year, I managed to keep my place in the score and sing my alto line. I was certainly not perfect, but I managed to stay faithfully focused. Some passages live in memory. Others still required careful reading and courage. There are always fewer altos than sopranos at a sing-along. There were moments when the alto came in alone. I hoped to hear another alto nearby but trusted the line. The sopranos around us were extraordinary. Their voices soared, bright and fearless. I wondered what it might feel like to have that vocal ability.
Music notation at first felt like a foreign language: dots, lines, measures, rests (I do appreciate consecutive rests). Eventually, I stepped into the music.
My husband sang tenor, as did the gentleman behind us, who began beautifully and gradually shifted into something closer to projection than tone. Afterward, my husband and I shared a laugh about our own voices. My second alto is lower than his tenor. Humor is a necessary part of communal singing. Everyone offers what they have, and somehow it makes a joyful sound.
Soprano, Pamela Simonson ParkerBaritone, Carl DuPontTenor, Allan Palacios Chan and Mezzo soprano, Frances Mitchem-Diago
The soloists were exceptional partners in Nancia’s musical conversation. Each soloist demonstrated artistry anchored in trust. They met Nancia with intelligence, precision, and warmth. Their collaboration lifted us all.
Nancia’s personal journey is remarkable. She holds a Doctor of Musical Arts in Orchestral Conducting from the Eastman School of Music, where she studied with Mendi Rodan. She also holds a Master of Music in horn performance from Ithaca College and studied horn at the Royal Flemish Music Conservatory in Brussels, Belgium. She was a professional horn player with the Oshawa Symphony in Canada.
Nancia recently joined the Board of Directors of the John S. Mulholland Family Foundation, supporting food assistance for the working poor of Washington, D.C. She and her husband, Giancarlo, live in Falls Church. They are avid scuba divers, travelers, cooks, and devoted companions to their delightful moyen poodle, Lupo.
Credentials are not what made the evening extraordinary.
What was most moving was the text. It was the Biblical narrative of promise, struggle, prophecy, and hope that was sung not as performance, but as recognition. Thousands of voices carried it forward: steady, reverent, and joyful.
This is when Christmas arrived for me. It arrived not through decorations or ritual, but through music, meaning, and shared breath.
We left the hall grateful, lifted, and were reminded that Handel still takes us to great heights then gently brings us home in celebration of the meaning of the season.
Virginia National Ballet brought heart, warmth, and brilliant dance to Capital One Hall. PC: Krasi Henkel
Mastery, Restraint, and Courage Silenced the Full House
Having attended countless productions of The Nutcracker, I could live happily without another one. Yet Virginia National Ballet made me reconsider my conviction. I attended this performance because I love these dancers and this company. I arrived not seeking novelty or nostalgia, but prepared to watch for creativity, interpretation, and intention.
What unfolded was a joyful celebration of the art of ballet. Correct, energizing, and clean.
Character interpretation and presentation were classical yet carried subtle twists. I caught myself thinking, “How understated, and how clever . . .” This Nutcracker was offered with nuance and a luxurious license to entertain, without tipping into excess or spectacle for its own sake. Lightness was mastery. From the houseguests to the naughty boys, from the magical uncle to the presented toys, the opening scene was effervescent.
Snow, the etherealscene – photo by Dave Pearson
The sets were creative, economical, and effective. There was just enough and nothing fussy.
Clara’s princess tutu was debuted for this production. From my seat, it evoked spun sugar. Combined with her elegant technique and storytelling, she set the standard for excellence throughout the production.
Princess Clara’s new tutu demonstrates attention to every detail. Photo by Krasi Henkel
From sparkles to snowflakes, the performance delivered masterful artistry, complete storytelling, and thoughtful structure. Nothing lingered too long. Nothing asked for attention it had not earned. What distinguished this production most clearly was courage in choice.
Arabian Scene photo by Dave Pearson
The Arabian scene was performed barefoot – no pointe shoes. That was a new twist in my experience and yet it felt authentic. A singular square of fabric defined the space, evoking a desert tent. Color and costume fused movement with intrigue. The barefooted ballerinas changed the atmosphere of the room. Their freedom from constraint allowed grounded power and presence to take center stage. This was intentional vulnerability.
Spanish Scene Photo by Dave Pearson
That same intelligence appeared throughout the production. A single dancer, Alexa Glomp, performed the Spanish variation on the very large stage. Although petite, she filled the stage with power, artistry, and enthusiasm. Her presence carried the moment.
Trepak scene – Photo by Dave Pearson
The Eastern European influence in costume and of course, music set the Trepak scene. The soloist’s choreography was delightfully modern from gravity-defying leaps to spins, and even a nod to break dancing. It brought freshness to a stereotyped musical score.
Chinese Scene – photo by Dave Pearson
In the spirit of visual economy, the Chinese scene resonated brilliantly with a single brilliant dancer and lovable dragon. The interplay between the two lent humor and whimsy.
Mother Ginger with the gingerbread dancers – Photo by Dave Pearson
No Nutcracker is complete without Mother Ginger. Dressed in shades of ginger, she concealed an army of gingerbread dancers both large and small. The tiny dancers tugged on heartstrings while the larger dancers carried the scene.
Young Clara embraces her “princess” self. Photo by Dave Pearson
I loved that the Sugar Plum Fairy was Clara, as her dream. Her arc transformed her into a princess then returned her to the child who loved her Nutcracker. The pas de deux was effortless and weightless, as it unfolded in a dream. Display for its own sake was absent, allowing the story to remain clear, confident, and complete.
The choreography dignified the company dancers. It matched real bodies and their spectacular abilities. Costumes, movement, sets, and music were integrated with confidence and restraint.
Professional dancers and ballet students harmonized organically. Technique and storytelling were equally respected. Children as mice and soldiers enhanced holiday unity. This is the mark of leadership that serves talent and allows it to flourish.
Snow magically appeared. Photo by Dave Pearson
There were moments when I felt carried away. Suddenly the people behind me stopped rustling paper and kicking my seat. There was a stillness throughout the auditorium. I knew then that this performance was an absolute success.
Stillness means the audience is no longer evaluating, no longer fidgeting; no longer anticipating. It means they were fully inside the experience. On this evening, approximately 1,200 people shared that stillness.
That leadership style was visible at curtain call. When co-founders Rafik Hegab, artistic director and choreographer, and Elysabeth Muscat, Managing Director, came on stage, they first applauded the dancers. Rafik stood to the far side, took a brief bow, and remained focused on the dancers. Ego was absent. Excellence was present. The joy was shared.
I left edified. Nothing had asked me to tolerate it. As spectator, I was invited to participate, intelligently, quietly, and fully.
Following the performance, future ballerinas were warmly greeted by Sierra Stipetich and Alexa Glomp
This Nutcracker was light without being thin, precise without stiffness, joyful without excess. It was designed to carry us through the story and safely return us when the curtain closed.
Princess Clara and her prince. Photo by Dave Pearson
Would I see The Nutcracker again? Theirs? Yes. Always.
The next performance for Virginia National Ballet will be the timeless Swan Lake – March 20, 2026 at Hylton Performing Arts Center and March 28, 2026 at Capital One Hall. An online silent auction will be launched in late January. You will be able to bid on trips, art, tickets, and much more. The auction items will be available at both performance venues. Click here for more information on the auction or for tickets.
The Virginia National Ballet delivered a spectacular trio of performances at their recent “Bohemian Rhapsody” show, showcasing their remarkable versatility and technical prowess through three distinct repertoire pieces.
The evening began with “Tango Nights,” set to the passionate music of Astor Piazzolla. The atmospheric stage design evoked an Argentine nightclub where dancers explored the complex emotional landscape of pursuit, betrayal, and romance. The choreography captured tango’s sultry essence while maintaining the company’s signature balletic precision; a captivating introduction that immediately drew the audience into the performance’s emotional world.
“Moonlight Sonata,” a new world premier by Rafik Hegab, and choreographed to Beethoven’s timeless composition cooled the atmosphere with three phases of the moon.. This piece displayed ballet in its most powerful form, with over fifteen dancers executing intricate patterns across the intimate stage. What struck me most was the remarkable juxtaposition of strength and gracefulness – forceful movements executed with extraordinary finesse. The dancers’ stamina and control were evident as they embodied the music’s emotional journey, with visual elements representing lunar phases complementing the crescendos of both music and movement. Sierra Stipetich delivered a particularly breathtaking performance with her fearless pas de trois featuring gravity-defying lifts and seamless transitions between her male counterparts.
The culminating piece, “Bohemian Rhapsody,” was nothing short of transformative. Choreographer Rafik Hegab, brilliantly fused classical ballet techniques with the electric energy of Queen’s iconic music, creating a synthesis that honored both traditions while creating something entirely new. Six Queen compositions flowed together in a performance that had me repeatedly smiling with sheer delight. The dancers embodied Freddie Mercury’s theatrical spirit while maintaining their classical foundation; a combination that felt organic rather than forced.
Throughout the evening, the company demonstrated remarkable emotional range, transitioning from the moody intensity of tango to the structural elegance of Beethoven, and finally to the bold theatricality of Queen. This versatility speaks to the vision of company founder and managing director, Elysabeth Muscat, and the choreographic genius of Rafik Hegab, who have clearly created an environment where technical excellence and artistic expression flourish equally.
For those who missed this extraordinary performance, there’s one more opportunity to experience it on May 17, 2025, at the Ailey Citigroup Theater in Manhattan. This is a production that deserves to be seen – repeatedly, if possible. It showcases ballet’s timeless ability to evolve while honoring its classical foundations.
The Virginia National Ballet has proven once again that they are a company worth watching, not just for their technical precision, but for their willingness to push the boundaries of what ballet can express.
Photo Credits:Photos by David Pearson, Compliments of Elysabeth Muscat, Managing Director, Virginia National Ballet
The familiar notes of Queen’s iconic “Bohemian Rhapsody” echo through the studio as dancers leap, lunge, and spin with unexpected intensity. I’m standing at the front of the rehearsal room of Virginia National Ballet’s rehearsal space, watching a rock masterpiece transform into classical movement before my eyes. This is no ordinary ballet rehearsal, and what’s coming to the stage is certainly no ordinary performance.
A Triple Bill of Transformation
Virginia National Ballet’s upcoming production dissolves boundaries with an ambitious triple bill showcasing their versatility and technical prowess. Back by popular demand, “Bohemian Rhapsody” returns after its 2017 debut, joined by the revival of “Tango Nights,” a sophisticated ballet set to Astor Piazzolla’s music, and “Moonlight Sonata,” a beautiful world premiere by Artistic Director Rafik Hegab.
“We wanted to create something that honors both Queen’s revolutionary spirit and ballet’s timeless grace,” explains Elysabeth Muscat, Founder of Virginia National Ballet. “But this program goes further—it demonstrates our dancers’ ability to completely reinvent themselves across different musical worlds in a single evening,” she adds.
When Rock Meets Ballet: “Bohemian Rhapsody”
Returning after its acclaimed 2017 debut, “Bohemian Rhapsody” stands as the Virginia National Ballet’s most audacious offering. This enhanced production captures Mercury’s vocal journey with stunning fidelity—dancers physically transform as the music shifts from tender ballad to operatic crescendo to hard rock intensity. The masterful blend of classical ballet storytelling with rock-inspired movement creates a visual symphony that reveals entirely new dimensions in Queen’s familiar anthem.
“Just as the song shifts from ballad to operatic drama to hard rock, our dancers embody these transitions physically. It’s not just about dancing to music; it’s about becoming the music’s physical manifestation,” explained Muscat.
I’ve heard “Bohemian Rhapsody” hundreds of times, but never like this. The music crashes through the studio as the dancers respond, and in these fleeting moments, I witness the perfect marriage of rock and ballet—two art forms that shouldn’t work together, yet somehow create something entirely new in their collision.
PC: Curtesy of VNBPC: Curtesy of VNBPC: Curtesy of VNB
Passion and Precision: “Tango Nights”
Without pausing, the rehearsal flows into “Tango Nights,” and the studio’s atmosphere immediately shifts. Bodies that moments ago were interpreting rock now embody the sophisticated language of tango. Set to Astor Piazzolla’s evocative compositions, this ballet explores sensuality and passion through movement that feels both precisely calibrated and dangerously spontaneous.
The dancers’ expressions change, their postures transform, and suddenly we’re transported to the intimate milieu of Argentine dance halls. Rather than echoing vocal complexities as in “Bohemian Rhapsody,” the dancers’ bodies now capture the distinctive tensions and releases in Piazzolla’s bandoneon, creating visual manifestations of the instrument’s breathing quality.
Ethereal Contemplation: “Moonlight Sonata”
The rehearsal included Artistic Director Rafik Hegab’s latest creation, “Moonlight Sonata.” If “Bohemian Rhapsody” represents bold artistic fusion and “Tango Nights” embodies passionate sophistication, then “Moonlight Sonata” offers yet another transformation—into ethereal contemplation.
Beethoven’s haunting composition guides dancers through movements that seem to capture moonlight itself—from the First Quarter, to the Full, to the Waning Moon—sometimes clear and defined, other times elusive and mysterious. With remarkable sensitivity, Hegab has created choreography that responds to the music’s tonal qualities, allowing dancers to become physical embodiments of Beethoven’s emotional landscape. A highlight of this program is a striking pas de trois featuring two men and one woman, showcasing lifts, shapes, and “tosses” so innovative I have rarely observed them, much less in a single variation.
What makes this program so remarkable isn’t just the juxtaposition of these diverse pieces, but the seamless resonance the company achieves between sound and movement across wildly different musical worlds.
The Art of Shapeshifting
The dancers of Virginia National Ballet demonstrate remarkable versatility as they navigate through this ambitious triple-bill program. Moving from Queen to Piazzolla to Beethoven in a single performance showcases not just their technical mastery but their extraordinary artistic adaptability. This constant metamorphosis is evident in every aspect of the rehearsal. Dancers transform from classical technicians to rock interpreters to tango masters with seamless fluidity—a shapeshifting quality that demands an entirely new approach to both training and performance.
Sweat glistens on foreheads (mostly the men) as dancers move with precision through the complex choreography. This is a working rehearsal – as the intensity gears up, the dancers shed layers, from full leggings and sweater wraps to bare legs and spaghetti straps. Yet even in these practical moments, their commitment to artistic transformation never wavers.
Sitting in on Virginia National Ballet’s rehearsal, I’m witnessing familiar anthems and classical masterpieces reimagined through the language of dance in ways I never imagined possible. Three distinct musical voices. Three unique movement vocabularies. One company bold enough to transform itself completely, multiple times in a single evening.
Virginia National Ballet’s upcoming performance promises to be a masterclass in artistic shapeshifting—a journey through sound and motion that audiences won’t soon forget. Based in Manassas, Virginia, this company is quietly creating and producing incredible, high-quality productions. But make no mistake—their “Bohemian Rhapsody” will be anything but quiet! I can’t wait to experience this production.
Virginia National Ballet’s triple bill featuring “Bohemian Rhapsody,” “Tango Nights,” and the world premiere of “Moonlight Sonata” will be performed at Hylton Performing Arts Center, Manassas, Virginia on Sunday, April 27 at 3 PM. Purchase Tickets. I purchased 10 tickets ! Everyone I have mentioned this performance is fascinated. Get your tickets soon.
You can see it in New Yor City on May 17 at the Ailey Citygroup Theater – buy tickets here.
The Remarkable Story of 16-Year-Old Artist, Eva McKinley
Virginia Bluebells at Goose Creek ~ Oil painting by Artist, Eva McKinley
In the rolling hills of Middleburg, Virginia, a remarkable young artist is painting her way into the hearts of her community. At just 16 years old, Eva McKinley is not a typical teenager. She’s a passionate artist, a savvy businesswoman, an eager traveler, and a testament to the power of following one’s creative dreams. Eva labels her work as, “Meaningful artwork inspired by nature” and herself, as “The Old Fashioned Girl.”
From Vienna to Watercolors
Eva’s artistic journey began early. While living in Vienna, Virginia, she discovered her love for art through outside-of-school art lessons. Watercolors quickly became her medium of choice, a passion that has only grown stronger with time. Although, her prowess with oil paints is every impressive. “I was always creative,” she recalls, her eyes lighting up as she describes her early experiences with art.
The Education That Nurtures Creativity
Eva’s path to artistic excellence has been shaped by thoughtful educational choices. “My middle school experience preserved my childhood,” she shares. “I built friendships and saw how different students learn, all in an outdoor homeschool co-op.” Her foundation of learning in nature proved instrumental in her development.
When her family recognized how deeply the outdoors inspired her creativity, they made pivotal decisions. “I chose to homeschool in my high school years so I can spend more time learning and doing the things I love,” she explains. Her parents moved to Philomot, Virginia for a higher quality of life and to afford her tranquility and natural spaces, her father adjusted his work to be remote, and the entire family embraced homeschooling, in part to support Eva’s artistic and entrepreneurial growth. Eva has a teenage sister (who helps her with packaging her prints and stationary) and toddler sister and brother (who is also interested in art).
Eva’s work is sold in Second Nature Coffee Co., Leesburg, VA PC: Curtesy Eva McKinley A basket of prints and stationary for Green Hill Winery PC: Curtesy Eva McKinley Gallery DisplayPC: Curtesy Eva McKinley
A Businesswoman Beyond Her Years
What sets Eva apart is her extraordinary approach to her craft. She’s not just an artist – she’s a strategic entrepreneur. After a year of learning and analyzing her market, Eva developed a sophisticated business plan that would impress seasoned professionals.
Her strategy is refreshingly direct. She visits businesses with a basket of prints and cards, carefully curating her approach. The result? Her artwork is now displayed in 11 different storefronts between Middleburg and Purcellville. In 2024 alone, she painted 30 paintings – a remarkable achievement for someone so young.
A box of colors – transforms magically into magnificent paintings
“Brushes are the most expensive tools,” says Eva – displaying her favorites
The Moment Everything Changed
Eva vividly remembers the turning point in her artistic journey. “In 2024, I submitted two pieces of artwork to the Artists in Middleburg Gallery. I had no expectations whatsoever that they would sell, considering I was only a teenager and there were seventy other talented adult artists in that exhibit,” she recounts. “But to my great astonishment, I sold my first two paintings that month.”
That unexpected success transformed her confidence. “There are hardly any words to describe the feeling when a stranger sees a glimpse of the same beauty I saw, and decides to buy the original painting,” she says. Since that breakthrough moment, Eva has sold almost twenty original paintings and hundreds of art prints, and stationary packages.
Finding Her Unique Voice
While many local artists focus on horses and equestrian scenes, Eva has created her own niche. Her true passion lies in capturing wineries – spaces filled with memories and untold stories. “Wineries hold so many memories for so many people,” she explains. “Being able to provide them with an image of their special places is very meaningful to me.”
A recent oil painting that lead to more commissions and special projects. PC: Curtesy Eva McKinleyWater color – Green Hill Winery PC: Curtesy Eva McKinleyEva’s eyes light up while sharing her painting and selling adventures of this oil paintingThe captivating image! Virginia Bluebells at Goose Creek. PC: Curtesy of Eva McKinley
Her creative process is both methodical and intuitive. She travels to her chosen locations, takes photographs, and then begins the delicate work of sketching and painting. A single watercolor can take between 5 to 10 hours, while her oil paintings might require 15 to 20 hours of dedicated work.
A World of Inspiration
Eva’s artistic vision has been broadened by extensive travel experiences. Her family has explored nearly half of the US National Parks and more than two dozen countries, exposing her to diverse landscapes and cultural perspectives that influence her work.
The crystal clear waters of Lake Ohrid by Eva McKinley, artistThe sailboats that Eva loves to sail during her summers on Lake Ohrid By Artist Eva McKinleyNorth Macedonia – Saint John at Kaneo believed to have been built in the 13th C. By Artist, Eva McKinley
Her North Macedonian heritage provides another wellspring of inspiration. One of her favorite summer activities is spending weeks in their small apartment overlooking Lake Ohrid. “Her paintings of the crystal-clear water, the boats that she sails, and the breathtaking church, Saint John at Kaneo, inspire her creative freedom,” notes a family friend. This summer, she looks forward to rowing on the beautiful Macedonian lake and capturing interesting scenery as only she can.
“Since our move to the beautiful Middleburg countryside where there is no lack of inspiration for an artist,” Eva shares. Beyond painting, she finds joy in “tending to my gardens, reading classic books, and spending time painting, in my studio and outdoors.”
A Family That Supports Dreams
Eva credits her success to her incredibly supportive family. Her mother, a business professional, has been instrumental in her education. Eva has learned financial analysis, market metrics, and business calculations as part of her curriculum – skills that have proven invaluable in her art business.
“While our family hasn’t done organized sports during the school year, we spend our summers outdoors sailing, swimming and hiking,” Eva explains, highlighting the balance her family has struck between education, art, and active outdoor living.
Community and Giving Back
Eva isn’t just selling art; she’s sharing her passion. She teaches watercolor classes at the National Sporting Library and Museum in Middleburg, inspiring others to explore their creativity. She is participating in this year’s Foxes on the Fence fundraiser for the Middleburg Art Council by completing a fox shaped painting to be auctioned for the event.
“It brings me so much happiness to recall all the people I have met who have seen my art and purchased it for their home or gifted it to their loved ones,” she reflects.
Her goals are ambitious – she dreams of painting all 50 Virginia vineyards and continues to participate in local art festivals like Art in the Burg and Art of the Piedmont. She also hopes to visit all of the National Parks and create paintings from those adventures.
20 Watercolor pallets ready to teach a Sunday Sketch Class A Fox for Foxes on the Fence Fundraiser PC: Curtesy of Eva McKinley
Looking to the Future
With visits to universities like the University of Virginia already underway, Eva is exploring her next chapter. “I would love to continue to grow my art business and have many goals and dreams. I think that I would like to study artas well as business,” she shares, perfectly reflecting her dual artistic and entrepreneurial mindset.
But perhaps most remarkable is her long-term vision. “Ultimately, I would like to save enough funds to buy my own piece of heaven in Loudoun County, where I’d like to start a school from pre-K through high school,” Eva reveals. “My dream is to create a learning experience that is focused on classical studies but with lots of time spent outdoors. And I’ll probably teach a lot of art lessons too,” she adds with a smile.
“I hope that my art makes people pause and be drawn to it,” Eva says. “From local Virginia scenery to the awe-inspiring National Parks, my hope is that my artwork brings peace, beauty and joy into their homes.”
And pause we do – captivated by the talent, passion, and entrepreneurial spirit of this extraordinary young artist.
Eva gains her inspiration from meadows and mountains.PC: Curtesy of Eva McKinleyA commission. Artist: Eva McKinley A commission. Artis: Eva McKiinley
In a world that often separates art from business, Eva McKinley is proving that creativity and strategy can beautifully coexist, while nurturing a vision that extends far beyond her canvases.
Lauren Gunderson’s brilliant re-imagining of Shakespeare’s “Hamlet” shifts the spotlight from the brooding prince to the women who orbit his world. In A Room in the Castle, Gunderson accomplishes in 85 minutes what Shakespeare took four hours to convey, creating an intimate portrait focused on Ophelia, her handmaid, Anna, and Queen Gertrude. Kaja Dunn’s elegant directing delivers a thought-provoking production. Gunderson was commissioned to write the play by the Cincinnati Shakespeare Company where it opened before it’s World Premiere on March 9, 2025 at the Folger Theater.
A Room in the Castle Dress Rehearsal 85:Sabrina Lynne Sawyer, Oneika Phillips, and Burgess Byrd in Folger Theatre’s world premiereof A Room in the Castle, written by Lauren M. Gunderson, directed by Kaja Dunn, co-produced with Cincinnati Shakespeare Company, on stage at the Folger Shakespeare Library, March4-April 6, 2025. Photo by Erika Nizborski
With only illusions to the narcissistic, gaslighting Hamlet of the original text, he is never seen. Not even the skull. Instead, we witness the story through the female perspective, exploring Ophelia as a motherless young woman navigating complex relationships and expectations. The production examines her circumstances: torn between her perceived love for Hamlet, her father and brother’s disapproval of him, Anna’s protective caution, and Queen Gertrude’s insistence on their marriage. Perhaps, it is “ . . .not to be.”
The all-female cast of three, delivers superb performances. Ophelia ( Sabrina Lynne Sawyer) emerges as a fully realized character – sometimes ambivalent, occasionally petulant, but ultimately autonomous. She is transformed from Shakespeare’s tragic figure into someone relatable in the 21st Century. Gertrude (Oneika Philips) commands the stage with regal confidence and impeccable dresses. Anna (Burgess Byrd) brings love and devotion to her role, having lost her own son and finding in Ophelia someone to mother and protect. Costume designer, Nicole Jescinth Smith’s costumes were visually stunning and spoke volumes about status and intent.
A Room in the Castle Dress Rehearsal 68: Oneika Phillips, Sabrina Lynne Sawyer, and Burgess Byrd in Folger Theatre’s world premiere of A Room in the Castle, written by Lauren M. Gunderson, directed by Kaja Dunn, co-produced with Cincinnati Shakespeare Company, on stage at the Folger Shakespeare Library, March4-April 6, 2025. Photo by Erika Nizborski
As we entered the Theater, I asked my guest and daughter, Tiffany, about her expectations of the play and to tell me her take on the original characters. Her immediate reply was that, “Hamlet was a madman, gaslighting Ophelia to her demise.” I shared that I found, “Both whiny and that she was needy and ‘a few cards short of a full deck.” Tiffany expected see a play about strength and perseverance over narcissistic dysfunction. I hoped that she was right and that after 425 years of waiting, Ophelia would find her voice.
The audience was greeted by the newly appointed director of the Folger Shakespeare Library, Dr. Farah Karim-Cooper, “I spent the last Twenty years of my life at Shakespeare’s Globe Theater in London. Over there, I was the resident scholar and director of education and research and it’s also where visceral performance informed all of my work, so I know something about theater. This is why I can say that I’m so inspired by the compelling and inclusive vision that’s emerging from the culture of this theater and our artistic leader Karen Ann Daniels.”
The intimate theater space enhances the experience, with its warm wood paneling, carved columns, and half-timbered walls – reminiscent of an Elizabethan setting. The set strikes an interesting juxtaposition between the now and then. When does this play take place? That really doesn’t matter.
A Room in the Castle Dress Rehearsal 93: Sabrina Lynne Sawyer, Oneika Phillips, and Burgess Byrd in Folger Theatre’s world premiere of A Room in the Castle, written by Lauren M. Gunderson, directed by Kaja Dunn, co-produced with Cincinnati Shakespeare Company, on stage at the Folger Shakespeare Library, March4-April 6, 2025. Photo by Erika Nizborsk
What makes this production special is that it honors Shakespeare’s world while boldly asking, “why not?” As Gunderson herself stated, “The play dances and duels with Shakespeare’s Hamlet, foregrounding the women in the play and re-imagining them with agency, vitality, and radical hearts eager for a new ending,… ripping a hole in the fabric of their suffocating story… because this play is anything but hopeless and tragic.”
There were frequent laughs and knowing sighs of recognition from the audience. While I won’t reveal the ending, I can say that it offers a satisfying conclusion to Ophelia’s journey. “A Room in the Castle” proves that sometimes the most interesting stories are found not with the titular character, but in the castle’s side chambers where the women speak their truths. “Obey, Agree, Assist?” How about “Rebel, Reject, Resist.”
A Room in the Castle Dress Rehearsal 91:Sabrina Lynne Sawyer, Burgess Byrd, and Oneika Phillips in Folger Theatre’s world premiere of A Room in the Castle, written by Lauren M. Gunderson, directed by Kaja Dunn, co-produced with Cincinnati Shakespeare Company, on stage at the Folger Shakespeare Library, March4-April 6, 2025. Photo by Erika Nizborski
A Room in the Castle Dress Rehearsal 87:Sabrina Lynne Sawyer, Burgess Byrd, and Oneika Phillips in Folger Theatre’s world premiere of A Room in the Castle, written by Lauren M. Gunderson, directed by Kaja Dunn, co-produced with Cincinnati Shakespeare Company, on stage at the Folger Shakespeare Library, March4-April 6, 2025. Photo by Erika Nizborski
Perhaps the most enduring power of Shakespeare lies not in the answers his works provide but in how each generation finds its own questions within them. Through my daughter’s unflinching modern lens, I watched not another classic Hamlet, but a study in how Ophelia finally gets the chance to exist beyond being defined by the men around her.
A Room in the Castle Dress Rehearsal 93: Sabrina Lynne Sawyer, Oneika Phillips, and Burgess Byrd in Folger Theatre’s world premiere of A Room in the Castle, written by Lauren M. Gunderson, directed by Kaja Dunn, co-produced with Cincinnati Shakespeare Company, on stage at the Folger Shakespeare Library, March4-April 6, 2025. Photo by Erika Nizborski
The cast, production team, and Folger staff greeted guests in the Great Hall for an elegant and enjoyable reception. Keeping with the woman theme, DJ, Miss H.E.R., provided invigorating music at the perfect volume for conversation. The reception gave us an opportunity to express our gratitude for the many levels of remarkable talent and work and to share snippets of insight and surprises. Meeting Dr. Karim-Cooper and Lauren Gunderson was an unexpected pleasure. Their generosity of spirit and depth of intellect and dedication to the Folger was inspiring.
The depth of intellect, knowledge, and commitment to both the production and the Folger Library Theater could have been overwhelming had not everyone been incredibly hospitable, responsive, and gracious.
Playwright Lauren Gunderson shares her creative process PC: Henkel
Meeting the cast, Sabrina Lynne Sawyer – Ophelia, and Oneika Philips – Gertrude gave additional focus to the characters. Sabrina is entirely invested in Ophelia. She wanted Ophelia to be liked and appreciated. When I shared my original opinion and how her representation changed my mind, she gave me a genuine hug and thanked me for being flexible and seeing the other side. Oneika, dressed in another stunning gown, this time in scarlet, carried herself as the regal queen that she portrayed. She was born to be the Queen. She complimented costumer, Nicole Jescinth Smith’s vision and impeccable attention to detail. Burgess Byrd and I managed to always be on opposite sides of the Hall – my compliments to her for bringing palpable warmth and love through her talent.
Top: Kaja Dunn, Lauren Gunderson, Nicole Jescinth Smith, Oneika Philips, Burgess Byrd Right: Lauren and Nicole Bottom Left: DJ MissH.E.R. Bottom Center: the Great Halls Bottom Right: Sabrina Lynn Sawyer and Tiffany Henkel PC: Henkel
I want to thank The Folger Press Secretary, Colleen Kennedy, for her generosity for allowing me to participate in this momentous event. I hope that this Blog will pique your interest to see this play. You will be glad that you did.
This delightful production plays until April 6 at the beautiful Folger Theater in Washington, DC. Tickets are limited. Don’t miss this chance to watch this modern production and see Ophelia in a new light. Click here for tickets
Colleen Kennedy, Right, with Krasi Henkel PC: Henkel
Love was in the air on Valentine’s Day when the curtain rose on the Virginia National Ballet’s “Snow White.” Their timing was perfect – what better way to celebrate the season of romance than with one of the most beloved fairytales of all time?
Snow White (Nicole Ramirez) and The Prince (Livan Gonzalez) surrounded by the Woodland Creatures performed by VNB Students
The audience came to engage and enjoy with much sparkle and finery. My party consisted of my friend and her young ballerina daughter. We arrived after battling Friday evening rush hour in full sparkle and pink regalia. I caught myself smiling throughout the performance.
Under the direction of award-winning choreographer, Rafik Hegab, the production transformed the classic Disney fairytale into an endearing ballet for audiences of all ages. The choreography presented seamless imagery while highlighting the talents of the dancers. The dancers brought to life themes of love’s victory over darkness, bonds between friends, and a pure heart’s ultimate success.
The sophisticated staging and beautiful costuming served as the perfect canvas for the company’s masterful artistry. They truly transported the viewer into an enchanted realm. The lush backdrops created a mysterious forest, a cold castle with a “live” mirror, and the dwarves‘ adorable cottage. The lyrical musical score of Bogdan Pavlovsky sounded familiar yet refined while featuring tunes from the movie. The multiple layers of nostalgic charm, eye-opening scenery, and excellent storytelling through professional ballet made this production sparkle. The inclusion of ballet school students as the woodland creatures gave the audience and the dancers a taste of preparation and performance. The stage of the Hylton Performing Arts Center in Manassas, Virginia made a perfect setting for the ballet.
The joyful Dwarves, each with unique choreography brought peels of laughter from the audience
The company’s international ensemble of twenty dancers brought elegant depth to this performance. The diverse cast represents talent from eight countries including the USA, Brazil, Cuba, Japan, Colombia, Uzbekistan, Nicaragua, and Canada. Each dancer imbued the production with a rich tapestry of artistic excellence. Their technical accuracy and emotional expressiveness brought each character beautifully to life – from Snow White’s impressive graceful innocence to the exquisitely menacing Evil Queen and her “Shadows,” to the mysterious Huntsman and the beguiling Prince, and of course, the Dwarves . . . pure joy! My favorite? The Queen.
The Evil Queen (Sierra Stipetich) and the Huntsman (Leonardo de Almeida)
The company’s decision to present “Snow White” during the Valentine’s season reflects their culture of bold programming. They have been voted the Best of Prince William County in Inside Nova’s Best Of for three years 2022-2024. The Virginia National Ballet pushes artistic boundaries while honoring classical traditions. Under the leadership of Managing Director Elysabeth Muscat and Artistic Director Rafik Hegab, the Company has earned their place among Virginia’s premier ballet institutions. The company performs a broad variety of ballet from “Led Zepllelin” last April to the holiday favorite, Nutcracker, at Christmastime. This is a company with a “two edged” sword. It is not surprising that almost every seat was taken.
For those seeking an affordable quality ballet experience, this one will put a smile on everyone’s face. There is one more chance to enjoy this production on March 1 at Capital One Hall. Visit the website for tickets. Here is a brief video from an earlier season https://www.youtube.com/watch?v=mF2mSJ_irlc.
As a first-time viewer and a bit of a ballet sceptic, I was delighted by the authenticity, technical accuracy, and charming emotional storytelling by the company. This production has made me eagerly anticipating the company’s April 27thBohemian Rhapsody , at the Hylton Performing Arts Center.
I wish Virginia National Ballet the best as they prepare for their exciting NYC debut of Bohemian Rhapsody in May at the Ailey Citigroup Theater in New York City.
*Photo Credit: Photos by Dave Pearson – courtesy of Virginia National Ballet Company
In the heart of Sofia, Bulgaria, a remarkable musical talent is blooming. At just 17 years old, Philip Iliev stands out as a classical pianist whose journey began with a simple moment of childhood curiosity – catching a glimpse of a piano on children’s television at age five. He has won over 30 national and international prizes for his virtuosity.
A Natural Calling
Unlike many prodigies pushed into music from infancy, Philip’s path to piano excellence was organic. His mother, Elena Kostova, waited to see genuine motivation before arranging his first lesson. That patience led to a serendipitous encounter with a top piano pedagogue, Angela Tosheva, in an unexpected setting – a garage studio workshop. By 2016, what started as childhood curiosity had crystallized into an unwavering calling.
Aviation Meets Artistry
Perhaps the most intriguing aspect of Philip’s background is his unique family heritage. Born to parents working in air traffic control, he inherited their exceptional attention to detail and capacity for total focus – crucial attributes for a classical pianist. While his father’s passion lies in aviation and the air, Philip found his calling in the grounded precision of piano keys. Though neither parent is a professional musician, their home resonated with the sounds of Italian opera and Mozart, creating a rich musical environment that nurtured his developing talent.
Technical Mastery
One cannot discuss Philip’s abilities without mentioning his remarkable physical gift – hands that can span 12 tones, reminiscent of Rachmaninov himself. While he’s quick to acknowledge that smaller hands can achieve excellence, these natural attributes give him additional versatility at the keyboard. His approach to practice is uncompromising and holistic – when tackling Chopin’s etudes, he aims to master all 24 (the entirety of the original 2 Opuses), elevating each composition to its highest potential. Of the Chopin etudes, his favorites are opus 25 no. 10 in B minor and opus 25 no. 12 in C minor. Philip stresses that “Music is a tapestry of tones, emotions, intentions, and mathematics. To create a pleasing, technically correct, and moving performance, every aspect of a composition must be assessed, studied, then played slowly at first, gaining momentum as confidence and understanding grow.”
Musical Philosophy
What sets Philip apart is not just his technical prowess but his mature approach to interpretation. He raises the spirit and soul of the music. He holds a particular fascination with Rachmaninov, noting how the composer’s relatively recent place in musical history allows for a more immediate connection to his intentions. “We can hear him,” Philip explains, suggesting a direct line of artistic interpretation that bridges the temporal gap. He also mentions that his hands have been compared to the composer.
His repertoire choices reflect a sophisticated understanding of classical music’s breadth. Rather than claiming a favorite composer, he allows his mood to guide him through the works of Brahms, Chopin, Liszt, and Bach. This emotional intelligence in his musical choices speaks to a maturity beyond his years.
He Studies at a High Level
Philip is a student at an immersive musical arts school in Sofia where academics blend with his art. “Truth be told, I prefer the music,” he shared. His school, National Music School, Lyubomir Pipkov , believes that “Music Comes First.” He currently stuies with Professor Alexander Vassilenko. In addition to academics and his school Philip takes masterclasses at almost every opportunity. In addition to his school, his motivation and curiosity has taken him on three occasions to Salzburg, Austria, where he attended the Mozarteum University, ClavoCologne Master Class, then returned to follow up classes with a particular professor that he found most inspiring.
The Competition Circuit
Since his first professional competition at age ten, Philip has been making waves in the classical music world. His competition preparations are methodical and thorough.He often performs in venues including the concert halls of the National School of Music and National Academy of Music in Sofia, and the Plovdiv School of Music’s concert hall. His recent recognition for interpreting the works of Lyubomir Pipkov, a leading Bulgarian composer, demonstrates his ability to master both traditional repertoire and more contemporary pieces. Listen to his latest competition performance of Liszt-Paganini Etude No 6
Looking Forward
As Philip continues to develop his artistry, his goals remain ambitious yet focused. He has immersed himself in the complete works of the great composers, having listened to thousands of hours of Chopin, alone. His systematic approach to mastering entire collections – from ballads and scherzos to sonatas and concertos – suggests a promising future in the international classical music scene. His goal for the 2025 season is to prepare for the Bulgarian competition circuit in the fall with future goals for international opportunities.
In an era where classical music sometimes struggles to find its place among younger generations, Philip Iliev represents a bright hope for the future. His combination of technical excellence, emotional maturity, and unwavering dedication marks him as a rising star in the classical piano world, one whose journey has only just begun.
Pansies, Henri Fantin-Latour, 1874, National Gallery of Art, Washington DC
“The world will surprise you with its grace,” is a line from a movie that I have watched many times. In today’s environment, this line has been brought to fruition in the most generous ways. We are all affected in how we move about, how we work, how we interact with friends and family, and how we entertain ourselves.
Detail of Frederick Edwin Church El Rio de Luz National Gallery of Art, Washington, D.C.
As in Sleeping Beauty, theater, music, art, dance, intellectually stimulating courses, and much of our in-person physical activities have ceased for the moment. However, the outpouring of generosity on the part of performers, museums, theaters, educators, and trainers have amazed me over and over. Sometimes I have blinked to be sure that what I was reading is true. And, so it is. We need grace and must exercise generosity now. We need the arts now more than ever. What better way to experience grace and generosity now?
Washington, DC
Westminster, London
Palais Garnier Paris
Louvre Paris
Royal Opera House London
Royal Opera House London
From Paris to Seoul, from London to Washington, DC , Florence to New York City, and from Harvard to Yale, and Princeton, along with many others, the best and greatest are sharing with us their best and greatest. We can nourish our souls (this is not a theological article) profoundly by a click on our computers . We can regroup. Perhaps this is our opportunity to explore, learn, reinforce, and discover the beauty of the arts. Our souls will be better for it.
Tea . . . Fortnum and Mason
Fortnum and Mason
Through my love for the arts, I feel like a kid in a candy store – where to go first – what to watch first?? Actually, I am feeling like I did on my first visit to Fortnum and Mason, “Must focus. Time is fleeting.”
Oliver Lee Jackson exhibition 2019 at NGA East Wing
The Lacemaker Johannes Vermeer
Allies Day, May 1917 Childe Hassah
A Young Girl Reading by Jean-Honoré Fragonard
To help make the most of our situation, I have compiled links to complimentary (some are pay what you can) videos from some of the world’s greatest resources. To these generous and gracious people and organizations, I give heartfelt thanks. Please remember them when times change and support them by become patrons, buying tickets, attending exhibitions, and buying future streaming services. They have gone above and beyond our expectations to feed our souls with beauty, creativity, adventure, and grace.
12 Museums offer virtual tours – from the Guggenheim and the Washington National Gallery of Art to the Uffizi, to the British Museum, London, and so many repositories of treasured art throughout the world
HBO provides movies, programs, and documentaries free to stream
Amazon Prime SXSW 2020 Film Festival – ““Prime Video presents the SXSW 2020 Film Festival Collection” offers filmmakers in the 2020 SXSW Film Festival lineup an invitation to opt in to take part in this online film festival, which will play exclusively on Prime Video in the U.S. for 10-days. The one-time event will be available in front of the Prime Video paywall and free to all audiences around the country, with or without an Amazon Prime membership, all that is needed is a free Amazon account.”
Good News. Reviews. Events. 