The murder mystery comedy “Clue” leaves evidence and laughter in its wake Feb. 4 to 9 at Detroit’s Fisher Theater. For tickets or more information, go to BroadwayInDetroit.com.
From Broadway tours to local talent, fascinating stories arrive on local stages to transport one away from the polar vortex into the realm of the imagination, as “Clue” comes to the Fisher, the Dearborn Theatre presents the musical “Into the Woods” and the University of Detroit – Mercy Theatre Company offers the timeless classic “The Glass Menagerie.”
‘CLUE’ LEAVES EVIDENCE AND LAUGHTER IN ITS WAKE AT THE FISHER THEATER
A murder mystery comedy that began as a board game and made its way to the silver screen, “Clue” comes to the stage in Detroit Feb. 4 to 9 at the Fisher Theater, 3011 W. Grand Boulevard.
The colorful characters, Miss Scarlet, Colonel Mustard, Mrs. Peacock, Mrs. White, Mr. Green and Professor Plum, are joined by others to solve a whodunit.
The stage play has multiple possible endings, so one is kept in suspense until the very end.
Showtimes are 7:30 p.m. Feb. 4 to 8 and 6:30 p.m. Feb. 9, with a 2 p.m. Feb. 8 and a 1 p.m. Feb. 9 matinees.
Tickets start at $40 and are available online at BroadwayInDetroit.com.
The Dearborn Theatre presents the Sondheim and Lapine musical “Into the Woods” Jan. 31 to Feb. 2 at the Ford Community and Performing Arts Center, with Director Rashid Baydoun (left) working with Fay Bazzi as the Baker’s Wife, Maysa Abouzenni as Little Red, Rokaya Martin as Stepsister Lucinda and Jenelle Darwish as Stepsister Florinda. For tickets and more information, go to DearbornTheater.com.
GO ‘INTO THE WOODS’ AS THE DEARBORN THEATRE BRINGS SONDHEIM’S MAGIC TO THE STAGE
Dearborn Theater, a program of the city’s Parks and Recreation Department, presents Stephen Sondheim and James Lapine’s musical “Into the Woods” Jan. 31 to Feb. 2 at the Ford Community & Performing Arts Center in Dearborn.
The story follows characters seeking to make their wishes come true, who come to realize along the way that actions and choices come with consequences and impact others.
A baker and his wife seek a child, which has been denied to them by a witch’s curse. To reverse the curse, they embark on a quest, and encounter Jack of beanstalk fame, Little Red Riding Hood and the Wolf, Cinderella and her Prince, a powerful Witch and an angry Giantess.
Director Rashid Baydoun said “Into the Woods” is more than a collection of familiar fairytales: It’s a profound exploration of human nature, community and the consequences of choices.
“Directing this show offers the chance to dissect Sondheim and Lapine’s layered masterpiece, where music, lyrics and dialogue intricately weave together to challenge audiences to engage deeply with the story,” he said. “I want to bring this production to life because it encourages actors and audiences alike to explore the meaning behind wishes, the complexity of human connection, and the transformative power of storytelling.”
Baydoun said the show pushes one to think beyond the surface and “step into the woods,” which is not a place of fear, but a journey of discovery and unity.
He said that balancing the technical complexity of Sondheim’s score with the emotional depth required of the actors has been one of the greatest challenges he faced during the rehearsal process.
“The music demands precision, while the story calls for vulnerability and authenticity,” Baydoun said. “Finding ways to help the cast connect the musicality to the storytelling has been both a challenge and a rewarding experience.
“Helping the ensemble bring the woods to life – both as a physical space and a metaphor – has required a great deal of creative exploration and collaboration.”
He said he has enjoyed watching the cast discover the nuances of their characters and how the individual stories intersect with the larger themes of the show.
“It’s been inspiring to see actors uncover the emotional depth within the lyrics and dialogue, and then bringing that to life through the performances,” Baydoun said. “The collaborative energy of creating the woods as a dynamic, ever-changing space has been a particular highlight, and every rehearsal feels like an opportunity to deepen our understanding of this story and its relevance to our own lives.”
He said he hopes audiences leave the theater reflecting on the show’s message of unity and the importance of coming together in the face of fear and uncertainty.
“‘Into the Woods’ reminds us that our choices have consequences, not just for ourselves but for those around us, and that we are stronger when we work together as a community,” Baydoun said. “I want people to talk about how the woods, often seen as a place of darkness, became a space for growth, understanding, and shared purpose, and most importantly, I hope they carry the show’s themes with them, finding courage in connection and hope amid uncertainty.”
He said “Into the Woods” is a gift for the audiences as well as the cast and crew.
“It reminds us of the power of storytelling to connect, challenge and inspire,” Baydoun said. “I’d encourage anyone watching to look beyond the surface of these fairytales and find their own truths within the woods.
“This isn’t just a performance; it’s an invitation to step into the journey with us.”
The Dearborn Theatre presents the Sondheim and Lapine musical “Into the Woods” Jan. 31 to Feb. 2 at the Ford Community & Performing Arts Center, with Ayah Barakat (left) as Milky White and Matt Hermen as Jack. For tickets and more information, go to DearbornTheater.com.
Taking part on that journey is Maria Saad, who plays the Witch, whom she describes as a complex character with emotional depth.
“The Witch is not just a villain,” she said. “She embodies themes of love, loss and transformation.”
Saad said balancing the witch’s emotions while delivering powerful musical numbers requires intense focus and vulnerability.
She said the show is a timeless tale that resonates with audiences of all ages.
“I hope our audience leaves feeling inspired and connected to the characters’ journeys,” Saad said. “It’s a story about the power of hope and friendship, and the courage to chase your dreams, even when it’s scary.
“Ultimately, I want them to remember the magic found in facing our fears and the strength we find in community.”
As part of the community, Yoshua Jones, who plays the Baker, said he has enjoyed the inclusivity and encouragement of other cast members during the rehearsal process.
He said the show is about more than bringing fairytales to life and weaving them into a story.
“It’s about real-life challenges, family, love and what happens after ‘happily ever after,’” Jones said. “I hope the show leaves people reflecting on choices, connection, personal growth, and the powerful message of ‘no more’ – letting go of the past to move forward and redefine what ‘happily ever after’ means.”
Maysa Abouzenni, who goes through much change and learning as Little Red Riding Hood, said her challenge in developing her character has been to find a balance between making her youthful and fun, while still grounded and not annoying.
She hopes audiences recognize the importance of the family connections forged during the show, and how powerful those connections can be.
“Along with the idea of growing up and finding yourself in a world much scarier than you thought, everyone finds a connection with some character in the show,” she said.
Carl Littlejohn Jr., who plays the Wolf and Rapunzel’s Prince, said creating the fluid movements of the Wolf has been his biggest challenge during rehearsals.
He said he also hopes that audiences are talking about the message of the show after the final curtain.
“The message of fatherhood and the effects of parenting, and how it can alter entire lives due to their decisions, good or bad, is worth more than any vocal number in my opinion,” Littlejohn said.
Others in the cast include Fay Bazzi as the Baker’s Wife, Matt Hermen as Jack, Charlotte Monroe as Cinderella, Mara Janke as Rapunzel, and Lily Farley as the Narrator.
Also in the cast are Chris Wright as the second wolf and Cinderella’s Prince, Chisomo Wilson as the Steward, Ayah Barakat as Milky White, Margaret Carscadden as the Stepmother, and Autumn Herm as Granny.
The cast also includes Rokaya Martin as stepsister Lucinda, Jenelle Darwich as stepsister Florinda, Ana Sanchez as Cinderella’s Mother, Karli Miller as the Harp, Sara Barakat as Jack’s Mother, Kareem Abouzenni as Cinderella’s Father, and Rashid Baydoun as the Mysterious Man.
The ensemble includes Logan Armstead, Rowan Beck, Mikaela Bustamante, Amir Hijazi, Grace LaPointe, Nada Lazar, Aislinn O’Neil, Zachery Schook, and Marie Spadafore.
Showtimes are 7 p.m. Jan. 31 and Feb. 1, with a 2 p.m. Feb. 2 matinee at the Michael A. Guido Theater in the Ford Community & Performing Arts Center, 15801 Michigan Ave. in Dearborn.
Tickets are $22, and are available online at dearborntheater.com and at the box office.
UNIVERSITY OF DETROIT – MERCY THEATRE COMPANY RECEIVES KENNEDY CENTER HONORS; BRINGS ‘THE GLASS MENAGERIE’ TO THE STAGE
The Detroit Mercy Theatre Company’s Spring 2024 production of “The Complete Works of William Shakespeare (Abridged) [revised] [again]” was selected to perform a full production at the Kennedy Center American College Theatre Festival Region 3 conference in Madison, Wis., in early January.
Only four full collegiate productions from Michigan, Indiana, Illinois, Wisconsin and western Ohio are chosen annually to present a complete play. Since 1970, the DMTC has been chosen to perform a full-length production three other times, which places it among the top collegiate theater programs in the Midwest.
In addition, the Winter 2024 production of “Photograph 51” was recognized as an Outstanding Production in the region and invited to perform a scene during the conference.
Currently, the DMTC’s Winter 2025 production, Tennessee Williams’ classic play “The Glass Menagerie,” will be performed Feb. 7 to 16 at the Marlene Boll Theater inside the Boll Family YMCA in Detroit.
Set in 1930s St. Louis during the Great Depression, “The Glass Menagerie” follows the Wingfield family as they navigate their dreams and desires and try to maintain balance between reality and illusion.
The mother, Amanda, is a faded Southern belle, while her son Tom is filled with restless yearning, and her shy, disabled daughter Laura is filled with insecurity, seeking solace in her collection of glass animals, which are as fragile as she.
Guest director Joe Bailey, artistic director of the Ringwald Theater in Ferndale, said rediscovering the brilliance of the classic play with the university students has been a dream come true.
“Tennessee Williams’ beautifully fragile play is a gift we don’t get to experience all that often and I am looking forward to sharing our work with everyone when the show opens in February,” he said.
Alumna Karen Kron Dickson, class of ’94, who plays Amanda, said it is an honor to return as a working professional and to share the stage with the talented students.
“Coming back home brings me full circle, and I have found the process to be very gratifying,” she said. “Amanda is a deeply complicated woman caught in between two worlds, that of her rich and vibrant past and the cold reality of her present.
“We watch her fantasy world unravel as she is challenged by having to face the struggles of both her children.”
Showtimes are 7:30 p.m. Feb. 7, 8, 14 and 15, with 3 p.m. Feb. 9 and 16 matinees at the Marlene Boll Theater inside the Boll Family YMCA, 1401 Broadway in Detroit.
Tickets are available online at detroitmercyarts.universitytickets.com.