A million lights are dancing— and there they are, a shooting star (ten of them, actually!) An everlasting world, lovely-in-blue…and they’re there with you! Must be—

Xanadu

ELO, ONJ, OMG, and all that jazz! It’s Venice… okay Venice Beach…well, Essex at CCBC but we’ll suspend our disbelief for this fun and whimsical bit of theatrical cotton candy. The iconic and camptastic screen-to-stage gem Xanadu is glittering its way onto Cockpit in Court’s main stage as the first of a five-show season (two upstairs, two downstairs and one across the lane with the Court Jesters!) And it’s a charming, feel-good trip down memory lane for those that loved the film, loved Olivia Newton John, and enjoy a simple and fun night out at the theatre. Directed and Choreographed by Quae Simpson with Musical Direction by Stacey Antoine, it’s a catchy and cute experience that is good clap-along, dance-along, tap-your-toe-along feel-good theatre, showcasing new talent— AND— there’s roller skating!!!

Scenically the show has a combined minimalist vibe, which plays into the campy nature of the libretto, and an artsy edge to it. Scenic Designers Sammy Jungwirth and Jason Randolph (with Randolph serving as the show’s Technical Director) slap a rake-tilted X-shaped ramp centerstage (and carefully arrange the live pit around its back-pointing corners) with a wooden override ramp and frames the back half of it. This ramp serves as the ‘Santa Monica Pier’ and as a great place to launch the Muses when they first ‘pop-out’ of the chalk mural. Said mural and the temple for Mount Olympus are projected onto the background scrim, albeit too faintly at times, which makes it a little tricky to see fully but if you engage your imagination you can make it out. Lighting, by way of Thomas P. Gardner, as a whole, however, utilizes a lot of ‘surprise pink’ and other chimerical shades to help keep the audience in the spirit of whimsy which is required to enjoy Xanadu. And a bonus shoutout is owed to Jungwirth and Randolph for their nod to Tommy Tutone on the decrepit and aging ‘Xanadu’ sign that’s rusting away on the downstage right wall.

Sound (Terry Edwards) continues to be somewhat problematic for Cockpit in Court, particularly here in Xanadu; mics had issues of inconsistency, being hot with pops, and just an overall balance challenge. With a cast of just ten, it’s important to really check these things before getting the production underway. Particularly with the live pit on stage. Music Director Stacey Antoine, who serves as the on-stage pit conductor and plays keys1, leads a three-person live instrumental section (Steven Soltow keys2, Nick Jewitt guitar, Joe Pipkin drums) to bring some of those iconic 80s tunes to life. Antoine leads a well-paced band, keeping the livelier numbers popping and the more subdued numbers mellow and smooth. There are times, however, when the mic balance has the pit overwhelming the performers; this seems to happen most frequently during the group numbers but is a correctable issue.

Sparkles!! Sequins! Rainbows and— leg-warmers!? Costume Designer Tammy Oppel has outdone herself and hit the nail on the head with the show’s sartorial selection. You’ve got 1980s Venice Beach vibes ready-set-go and you’ve also got this timeless ‘Musecore’ aesthetic happening. And then a plethora of fantastical sequins that rain down into every stitch of fabric for the finale. Personal favorites the crop-top and skirt in glitter pink that Kira ends up in once she shifts out of her Muse Gown, and rainbow affair featured on Sonny at the finale. Oppel really does a magnificent job of camping up the costumes, which helps keep the light and fluffy verve of the show alive.

The show itself is well-paced. Director Quae Simpson keeps things rolling smoothly. There’s a lot of clever little blockings that Simpson slips into the performance that feel humorous and cheeky— like Melpomene and Calliope hidden up on the ramp with their popcorn watching Sonny and Kira ‘connect’ during “Magic.” And despite the cavernous potential of the vast stage, Simpson crafts an intimate, ‘small-stage’ feel amongst the performers without feeling like he’s cramming them in or not playing to the potential of the open and available space. There’s a uniqueness to his approach to the show’s camp-factor as well. There are absolutely moments of “over-the-top” kitschy-campiness, most of which seem to be reserved for Melpomene and Calliope.

One of the finest components of Simpson’s approach to the show is the choreography, which features “full company on skates” and the skate-choreo is pretty sweet. In addition to Kira and Sonny, both of whom spend a significant amount of time on skates, and the ‘finale skate-choreo’ feature, Simpson has blocked some genuine feelgood dance-choreography into the show. This is particularly true during “Dancin’” which might be more aptly referred to as a beautiful blend of decades.  You get 1940s moves mingled with 1980s moves in window-lines and its pretty entertaining and really enjoyable to watch.

The show contains heart and is played with a lot of moments of truth, which helps strengthen the “love wins” plot-thread, though the moments of over-the-top hilarity are still present. It’s a carefully constructed balance that makes for an easy evening of good theatre, featuring a cast of ten talents.

The Muses:  Derek Cooper as Thalia, Tia Silver as Euterpe, MacKenzie Crowley as Erato, Ryann Reich as Terpsichore, and Faith Humphreys as Sýnolo aka ‘Ensemble Muse’. Yes,  yes, there are two others, but they’re in a category of chaos all their own. These ferociously inspired, supporting sisters of Clio/Kira are the backbone that carries the show. Ryann Reich has dancer moves to die for as the Muse of Dance and you won’t be able to stop laughing at Derek Cooper who is literally tripping over himself entering and exiting scenes as the Muse of Comedy. Silver, Crowley, and Humphreys also double-up as the “Andrews Sisters” during those 1940s flashbacks and it’s a swell delight to watch them do so. Also keep an eye out for Cooper when the show shifts up to Mount Olympus as his character is something of a spectacle to behold in that scene.

Mingled and muddled all up in the mess of Muses and Mortals is Danny Maguire (David Steinhorn.) With a surprisingly smooth sound, you get two really lovely songs out of Steinhorn’s character and an impressive deal of delicate dancing. His initial duet, “Whenever You’re Away From Me” demonstrates clear, crisp tonal quality that is lively and of the song’s timestamp. Steinhorn also puts on a little soft-shoe routine here that’s just charming. He’s got both the vocal talent and the emotional expression that well-serves the character both in this scene and as he reappears in the second act.

The two Mischief Muses— Melpomene (Lisa Pastella) and Calliope (Amy Haynes Rapnicki). With robust vocals that make some powerhouse singing moments, particularly during “Evil Woman” you’re getting all of the dark and hilarious comedic moments from this pair of loveable, diabolical goofballs. And Rapnicki is exquisite when it comes to chewing scenery. Nearly quite literally. The pair are cackling their lungs out like they belong in Hocus Pocus (and should it ever come to be stage musical, you’ve got two of your three Sanderson Sisters right there.) Pastella and Rapnicki’s voices gloriously glide through “Strange Magic” but what’s really aces in that number is the hand-gestures they’re both doing…almost alluding to the fact that what they’re trying to do isn’t actually working for reasons that…are later revealed. They both concoct a nasally, witchy vocal affectation, which allows them to lean whole-heartedly into the ‘stereotype’ of the antagonists. And then they’re in the house, going up and down the aisles with lamp-shades on their heads, because why not? Also the comedic understanding they share during the Mount Olympus scene with Rapnicki trying to disappear whilst Pastella shouts out about the constraints of double-casting his hysterical.

Played wholly for truth, Callum Howard’s Sonny Malone has the exacting ‘beach bum’ verve one expects for the character, with pristine vocals that really help the character to come alive during the various duet and group numbers in which he sings. There’s just something earnest about the way Howard approaches Sonny, like this adorably confused sweet but stupid innocent artist type and it feeds into the chemistry between his character and Clio/Kira (Veronica Lane) divinely. Howard skates with ease, has a natural sense of how to deliver a joke without looking and sounding like he’s trying to land a joke, and really lets his vocals ease through “The Fall”, his only true solo, featuring the Muses as backup/background vocals. And when he’s sing-pleading during “Don’t Walk Away” you get a proper showcase of his vocal prowess.

Commanding the stage, her sister muses, the plot, and pretty much everything else, it’s no wonder that Veronica Lane finds ‘Xanadu’ in this epic quest as Clio/Kira. Masterfully putting on the Australian accent, and with extreme consistency at that, Lane is every bit the plucky young Muse-playing-Mortal that you could hope for. She manages to pay a respectful nod of homage to Olivia Newton John without trying to emulate or copy her, infusing her own spirit into the character whilst simultaneously sticking within the line of the scripted character construct. It’s an impressive acting feat. And her vocals are sublime. She also knows how to hit those breathier deliveries (intentionally penned as such for effect) during “Magic.” Both “I’m Alive” and the show’s titular number feature Lane’s resplendent singing voice, letting the world of Baltimore know that she’s leading player material with the vocal chops and acting presence to back it up.

Come and find your Xanadu this summer at Cockpit in Court. No, seriously, come to Xanadu this summer, and you’ll find Xanadu. It’s a really fun, fluffy bit of summery entertainment and it’s not often produced!

Running Time: Approximately 2 hours with one intermission

Xanadu plays through June 28^th 2026 with Cockpit in Court in the F. Scott Black Theatre of The Robert and Eleanor Romadka College Center at the Community College of Baltimore County Essex Campus— 7201 Rossville Boulevard, Essex MD. For tickets call the box office at (443) 840-2787 or purchase them in advance online.