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Theater Review: THE BAND’S VISIT (National Tour)

by Marc Wheeler on December 7, 2021

in Theater-Los Angeles , Tours

LOST IN THE DESERT

Winner of 10 Tony Awards including Best Musical of 2018, Itamar Moses’s The Band’s Visit is one of the most highly-awarded shows in musical theater history. And yet, those expecting the razzmatazz of a Big Broadway Musical in The Band’s Visit ’s “post-shutdown” North American  Tour are likely to be at least somewhat disappointed in this understated work, even with its quirkiness and desert-breeze beauty. To its credit, the piece clamps lofty expectations from the start. “Once not long ago a group of musicians came to Israel from Egypt,” it projects onto the stage. “You probably didn’t hear about it. It wasn’t very important.” Potential sarcasm of this statement aside, any importance we do ultimately take away from this piece relies heavily upon what we project into its palpable restraint. 

You see, not much really happens in The Band’s Visit . A small orchestra from Egypt mistakenly travels to the wrong Israeli town for a performance. In kindness, the townspeople welcome them into their homes, offering them a place to crash before the morning bus sends them back on their merry way in time for their concert. That’s it. No big dance numbers. No crashing chandeliers. No revolutions. Just an unimportant day in an unimportant town, after which life returns to relative normalcy. 

Or does it? If transformation is a door, The Band’s Visit is the hinge on that door. By forcing our attention on the axis, not the wide-swinging results, it’s up to audiences to write the ever-afters. With such subtlety at work, it should come as no surprise that The Band’s Visit is inspired by a 2007 Israeli film of the same name (film being more properly suited for magnified nuance). This  is where choice of venue is imperative. Home of many Academy Award ceremonies, Hollywood’s 3,400-seat Dolby Theater is grand and majestic. It’s also a cavernous space in which to tell such a fine-spun story. While I left The Band’s Visit less moved than I had hoped, I think only a fraction of that is due to the work itself. Even without seeing the show in a more intimate venue (200 seats or less, like the original off-Broadway production), I can say with assurance that while the Dolby Theatre (alongside Scott Pask’s scenic design) may have highlighted the ever-present barrenness of the work’s desert town and its inhabitants, it also swallowed a lot of the subtlety this musical requires to thrive. 

With songs like “Waiting” and “Welcome to Nowhere,” it’s clear that existential ache is the primary language of Bet Hatikva, Israel — the fictional “Dodge” of the Middle East where the story takes place. It’s only natural that music must be their second language (how else are they going to process their existence?) This is where David Yazbek brings the work to life. Imbuing his haunting Middle Eastern score of quarter tones and minor chords with fresh, poetic lyricism, he sustains a sense of yearning throughout the show. Rare is a group number; solos and duets work in establishing a sense of isolation and loneliness. Sparingly, like in the sensual “Omar Sharif” and the gorgeous slow-build of “Answer Me,” he allows passions to swell and reveal themselves, then return ever-quickly to the slow drip of humdrum life. Having band members onstage playing background to their own story creates an almost-separate character in the work: one allowed to say the “unsaid.” Brimming with hope for what’s just out of reach, the exoticism of the music reinforces the cultural divide between geographic neighbors, even as it provides a means of connection and understanding. 

Under the direction of David Cromer, the cast plays well with this cultural tug-and-pull. Janet Dacal is fiery and passionate as Dina, the owner of a local café who welcomes band-conductor Tewfiq (a delicately reserved Sasson Gabay) into her home. In the role of Haled, the orchestra’s jazz-loving lothario, Joe Joseph is smooth as silk. And Coby Getzug as Papi, the local shyboy, is delightfully comical in his self-deprecating anthem “Papi Hears the Ocean.” 

Long after curtain, I admit I’m still haunted by The Band’s Visit . It’s a bit short for a musical, with no intermission, and it ends just when it seems to take-off — I guess they left me wanting more. But truly, I can’t seem to shake the notion that in a more intimate venue I could actually have a much richer experience with it. (Oh, the cruel irony of “rewarding” small works with giant theaters that overwhelm their delicacy.) I want to smell the sweet jasmine, taste the deep longing, and behold the slight shift from ennui into possibility. Separately, I want neighbors who aren’t repeatedly reminded to put on their masks. (Yes, returning patrons, “COVID Police” are now part of our theatergoing experience.) Oh, the many desires I’m left with after such a “band’s visit.” Is this L.A. … or Bet Hatikva?

photos by Evan Zimmerman / MurphyMade

The Band’s Visit national tour reviewed at the Dolby Theatre, Hollywood tour continues for tickets, dates and cities, visit The Band’s Visit

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The Band's Visit

November 10 - December 17, 2023

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The Huntington holds performances at multiple locations. This production is taking place at The Huntington Theatre .

Music & Lyrics by David Yazbek

Book by Itamar Moses

Based on the screenplay by Eran Kolirin

Directed by Paul Daigneault

Choreography by Daniel Pelzig

Music Direction by José Delgado

A co-production with SpeakEasy Stage

THE BAND’S VISIT is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.mtishows.com

The Huntington Theatre 264 Huntington Ave. Boston, MA 02115

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Approximate run time: 90 minutes with no intermission.

Content advisory: Please note this production contains theatrical haze and the smoking of cocoa shell cigarettes (100% nicotine free). Please click  here for a content advisory that addresses thematic elements.

View the Digital Program!

Notable Dates:

Opening Night: 11/15 at 7 pm

Open Caption Performance: 11/21 at 7:30 pm

ASL Performance: 12/13 at 7:30 pm

Audio Described Performance: 12/9 at 2:30 pm

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In this Tony Award-winning, feel-good musical, an Egyptian band of musicians is stranded in a small Israeli town after a transportation mix up, and with no lodgings available, the locals take them in for the night. By morning, surprising connections have been made and friendships forged over moments of shared humanity and love of music. A brief visit can have a lasting impact in this stunning musical adaptation of the acclaimed 2007 film that cast a spell over Broadway.  

“Exquisite and luminous.”

– the boston globe, “in short, it’s a wonder”, – boston.com, “gorgeous there’s just everything to love about this musical”, – jared bowen, gbh, “must-see theatre a profoundly beautiful production by two of boston’s best companies.”, – joyce kulhawik, joyceschoices.com, cast & crew, jared troilo.

Jared Troilo   The Huntington: Prayer for the French Republic . SpeakEasy Stage: Jerry Springer: The Opera, Far from Heaven, Dogfight, Significant Other, The View Upstairs, Tj Loves Sally 4 Ever, The Prom . Regional: Lyric Stage, Moonbox Productions, Wheelock Family Theatre, Reagle Music Theatre, Palace Theatre, Greater Boston Stage, Winter Park Playhouse, Shadowland Stages, Umbrella Stage, TigerLion Arts, Company Theatre, and The Barnstormers.

View full biography

Jesse Garlick

Jesse Garlick Off Broadway:  Good  (PTP/NYC) ;   Who Would Be King  (Ars Nova/Liars and Believers). Regional:  A Christmas Carol, Journey to the West, Arcadia   (Central Square Theater);  Good, Assassins   (New Rep);  A Story Beyond, Yellow Bird Chase, Who Would be King   (Liars and Believers);  Hamlet, As You Like It   (Brown Box Theatre Project);  Salome  (Bridge Rep);  Beowulf   (The Poets’ Theatre).

Fady Demian

Zelger, U/S Simon, U/S Camal

Fady Demian The Huntington: Prayer for the French Republic . SpeakEasy Stage: Wild Goose Dreams ; As You Like It (Actors’ Shakespeare Project); Rocky Relationships ( Moonbox Productions); Lorena: A Tabloid Epic and Incels & Other Myths (Boston Playwrights ’ Theatre); Walls (Playback Theatre); Hamlet (Oxford Shakespeare Company); and T he Taming of the Shrew (Prague Shakespeare Company).

Robert Saoud

Avrum, U/S Tewfiq

Robert Saoud  T he Huntington: A Midsummer Night’s Dream, Merrily We Roll Along . SpeakEasy Stage: Hello Again , Anna In the Tropics, Some Men, The New Century, XANADU, The Drowsy Chaperone, Casa Valentina . National Tour: GROUCHO: A Life in Review .

Josephine Moshiri Elwood

Josephine Moshiri Elwood The  Huntington: Prayer for the French Republic . SpeakEasy Stage: English, People, Places, & Things, Hand to God, The Whale . Regional:  Vanity Fair  (Central Square Theater) ; Onegin, Gabriel  (Greater Boston Stage Company) ; Old Money  (Commonwealth Shakespeare Company) ; Othello, God’s Ear (Actor’s Shakespeare Company) ; Long Ago and Far Away , The Cherry Orchard  (Walking the dog Theatre).

Noah Kieserman

Telephone Guy

Noah Kieserman  Broadway / National Tour:   Dear Evan Hansen .  Off Broadway:  Space Dogs   (MCC) .  TV/Film: “Law & Order” (NBC), “FBI: Most Wanted” (CBS), “The White House Plumbers” (HBO), “Lady i n The Lake” (Apple TV+). Education: University of Michigan’s BFA Musical Theatre Program. Special thanks to HCKR and Lexy at Framework. @nbkieserman  noahkieserman.com  

Brian Thomas Abraham

Brian Thomas Abraham  Broadway: Life Of Pi, Harry Potter and the Cursed Child Parts 1 & 2 . Regional: ART, Berkshire Theater Group, Mark Taper Forum, Geffen Playhouse, Milwaukee Rep, San Diego Rep, Laguna Playhouse, Ensemble Theater Company, 3D Theatricals.

Marianna Bassham

Marianna Bassham T he Huntington: Sweat, Common Ground Revisited, Romeo and Juliet, Yerma, I Was Most Alive with You, Becoming Cuba, Our Town , and The Luck of the Irish . SpeakEasy Stage:  People Places and Things, Small Mouth Sounds, Hand to God, Admissions, a Future Perfect , In the Next Room (or the Vibrator Play), Reckless, and Blackbird .

Jennifer Apple

Jennifer Apple  Broadway Tour: The Band’s Visit . Regional: Detroit ‘67, Romeo & Juliet (Chautauqua Theater Company); A Walk on the Moon, A Christmas Carol (American Conservatory Theater); title of show (Bridge Production Group); Theory of Relativity (Goodspeed Musicals); Fiddler on the Roof (Pennsylvania Shakespeare Festival & CFRT).

Kareem Elsamadicy

Kareem Elsamadicy  Off Broadway: Find the Golden Bird, Giovanni the Fearless . Regional: Light in the Piazza, La Traviata (Ars Nova). University: Man of La Mancha (NYU).

Andrew Mayer

Andrew Mayer  Broadway: Natasha, Pierre, and the Great Comet of 1812 ; A Christmas Carol. Off-Broadway: I Spy a Spy ; The Hello Girls (Prospect Theater) ; Dying for It ( Atlantic Theater) . Regional: Oliver (Goodspeed); The 12 (Denver Center); Appoggiatura (Indiana Rep); Fiddler on the Roof (Barrington Stage).

James Ra n a  Broadway: The Band’s Visit . Off Broadway: The Government Inspector (Red Bull Theatre); Serendib (Ensemble Studio Theatre); Marat/Sade, Macbeth, Mother Courage (Classical Theatre of Harlem); Shogun Macbeth (Pan Asian Rep); As You Like It (Worth Street Theatre). N ational / International : The Band’s Visit (1st National Tour – LA Critics Circle Nomination) ; Love’s Labor’s Lost (Royal Shakespeare Company) ; Macbeth (Bonn Biennial/Globe Neuss).

Emily Qualmann

Anna, U/S Iris, Dance Captain

Emily Qualmann  Broadway National Tours:  Escape to Margaritaville ,  Fiddler on the Roof . Off Broadway:  The Office!: A Musical Parody . Regional:  The Peculiar Tale…  (Goodspeed Opera House). Education: The Hartt School ‘19. Representation: The Roster Agency. @emilyqualmann emilyqualmann.com  

Zaven Ovian

Zaven Ovian  The Huntington: Rosencrantz and Guildenstern Are Dead, Romeo & Juliet . SpeakEasy Stage: English, Shakespeare in Love, Big Fish . Off Broadway: Émilie: La Marquise Du Châtelet… (Duende Productions/The Flea Theater). Regional: Selling Kabul (Premiere Stages at Kean); Water By the Spoonful, The Tale of the Allergist’s Wife (Lyric Stage). Education: BFA (Boston Conservatory ‘16). @zavenovian  

Elliot Lazar

U/S Papi, U/S Telephone Guy

Elliot Laz ar  National Tour: Fiddler on the Roof . Regional: Rent , Guys and Dolls ( with Winnipeg Symphony Orchestra ), The Little Mermaid (Rainbow Stage) ; Another Roll of the Dice (North Coast Rep) ; Parade (Opera NUOVA) ; A Little Night Music , The Addams Family (Dry Cold) ; James and the Giant Peach (Manitoba Theatre for Young People) ; The Trump Card (District Theatre Collective) ; American Idiot (Winnipeg Studio Theatre) ; You Were There: A Shadowplay (Pocket Frock) ; Way to Heaven (Winnipeg Jewish Theatre) ; Gianni Schicchi , The Magic Flute , Alcina , Cendrillon (Manitoba Underground Opera). Film/TV: Siberia (Saban Films). Education: BM in Vocal Performance (University of Manitoba ) ; MFA in Theatre ( Boston Conservatory at Berklee). @elliotlazar elliotlazar.com  

Jordana Kagan

U/S Julia, U/S Anna

Jordana Kagan  Regional: The Prom (White Plains Performing Arts Center). Film: Exuvia (Small Motor Skills). University: The Wolves (Fordham University).

Alex Poletti

U/S Haled, U/S Zelger

Alex Poletti  Regional: Ragtime: The Symphonic Concert (Boston Pops at Symphony Hall and Tanglewood); She Loves Me!, The Pirates of Penzance (College Light Opera Company). Education: BFA in Musical Theatre (Boston Conservatory) .

Sarah Corey

Sarah Corey  SpeakEasy Stage:  Caroline, or Change . Off Broadway:  A Letter to Harvey Milk, Love and Real Estate, Illyria.  International Tour:  Death for Five Voices.

Steven Goldstein

Steven Goldstein The Huntington:  I Was Most Alive With You . SpeakEasy Stage:  Big Fish.  Broadway:  Our Town.  Off Broadway:  Boys’ Life, Oh Hell, The Lights  (Lincoln Center Theater);  Romance, The Vosey Inheritance, The Water Engine, Three Sisters  (Atlantic Theater Company, founding member).

Ryan Mardesich

Passenger 1, U/S Sammy, Itzik

Ryan Mardesich  SpeakEasy Stage:  Wild Goose Dreams, Allegiance . Regional: New Repertory Theatre, North Shore Music Theatre, Barnstormers of NH, Sierra Repertory Theatre, San Francisco Playhouse, Broadway by the Bay, City Lights Theatre, and many others. Directing:  Sweeney Todd  (Moonbox Productions).

Daniel Rodriguez

Associate Conductor/Keyboard 2/Conductor Substitute/Keyboard 1 Substitute

Daniel Rodriguez T he Huntington: Sunday in the Park with George, A Little Night Music . SpeakEasy Stage: Jerry Springer: The Opera , The Mystery of Edwin Drood, Zanna Don’t! . Regional: Assassins, Preludes , The Last Five Years (Lyric Stage Company); Kinky Boots , Little Shop of Horrors (North Shore Music Theater); Oklahoma , Pippin, West Side Story (Reagle Music Theater); Caroline or Change, Cabaret, The Wild Party ( Moonbox Productions); In the Heights (Wheelock Family Theatre); The Lily’s Revenge, The Blue Flower (ART); Ain’t Misbehavin ’ (Front Porch Arts Collective) .

Her di Xha  He has taught and performed in various genres with artists throughout Central Mass, Boston, and the New York area. He has been a percussionist with the New England Philharmonic and Civic Orchestra of Boston as well as having worked as a pit musician on musicals and theatre productions throughout Massachusetts.

Mike Rivard

Acoustic and Electric Bass

Mike Rivard  The Huntington: Merrily We Roll Along . Regional: Wicked, The Lion King, Beautiful: The Carole King (Broadway in Boston), The Blue Flower (ART), and many others. He leads the award-winning world-dub-jazz collective Club d’Elf , and performs regularly with the Boston Pops Orchestra. 

Mac Ritchey

Oud, Acoustic and Electric Guitar, on stage

Mac Ri t chey  Multi-instrumentalist with a 20-year primary focus on the oud, or ‘Arabic lute’, and an immersion in the modal musical systems of the Middle East. Ritchey is also an acclaimed music producer and proprietor of Possum Hall Studios in Carlisle, MA, having recorded hundreds of albums and projects for clients over 30 years. Additionally, Mac is a guitar luthier, designing and building custom stringed instruments for fellow musicians. possumhall.com  

Joe LaRocca

Reeds, on stage

Joe LaRocca T he Huntington: The Lehman Trilogy . T our: Jesus Christ Superstar (50th Anniversary National Tour, Reed 1). Regional: The Lehman Trilogy (Repertory Theater of St Louis); Beautiful: The Carole King Musical (Ogunquit Playhouse, Reed 2); A Man of No Importance (Footlight Club, Reed 1); The Secret Garden, Matilda, Beauty and the Beast, Fun Home, Nine , and others.

Wick Simmons

Cello, on stage

Wick Simmons Broadway Tour:  The Band’s Visit . Wick Simmons has performed at Joe’s Pub, The Kennedy Center, The Dolby, MASS MoCA, Carnegie Hall, Maison l’Amérique Latine, and on NPR. On an international scale, Wick’s body of work spans the worlds of creative-technology, theater, installation art, kink, improvisation, older and newer music.

Fabio Pirozzolo

Percussion, on stage

Fabio Pirozzolo  The Huntington: Yerma . Italian drummer, multi-percussionist and singer currently based in Boston, Massachusetts. Originally from Terracina, Italy, he started his career as a folk percussionist in one of the most famous folk groups in his area, playing the Italian frame drums tamburello and tammorra .

David Yazbek

Music & Lyrics

David Yazbek A varied career as a recording artist, Emmy-winning TV and film writer, music producer and pianist has somehow led Yazbek to a career on Broadway. His four shows, The Full Monty, Dirty Rotten Scoundrels, Women on The Verge of a Nervous Breakdown , and The Band’s Visi t were all Tony nominated for Best Score. Yazbek took home the Tony for Best Score for T he Band’s Visit . The Full Monty won him the Drama Desk Award for Best Music.

Itamar Moses

Itamar Moses is the author of the full-length plays Outrage, Bach at Leipzig, Celebrity Row, The Four of Us, Yellowjackets, Back Back Back , Completeness , and The Whistleblower ; the musicals Nobody Loves You (with Gaby Alter), Fo r tress of Soli tude (with Michael Friedman) and T he Band’s Visit (with David Yazbek), and the evening of short plays Love/Stories (Or Bu t You Will Get Used To It) . His work has appeared Off-Broadway and elsewhere in New York, at regional theaters across the country and in Canada, Hong Kong, Israel, Venezuela, Turkey, and Chile, and is published by Faber & Faber and Samuel French .

Paul Daigneault

Paul Daigneault  is a New England-based freelance director, producer, and teacher .  Since founding the award-winning SpeakEasy Stage in 1992, he has produced over 150 Boston premieres. As a director, he is especially proud of his projects that have centered gay and queer stories as well as his passion for contemporary American musicals . 

Daniel Pelzig

Choreographer

Daniel Pelzig  The Huntington: Sunday in the Park with George, A Little Night Music, Company, Candide, Rosencrantz and Guildenstern are Dead, Tartuffe, The Mikado, HMS Pinafore . Broadway: 33 Variations , A Year with Frog and Toad , Sweeney Todd (Kennedy Center Sondheim Festival). Off Broadway: Privates on Parade, Newyorkers , The New Moon, Valhalla .

José Delgado

Music Director/Conductor/Keyboard 1

Jo sé Delgado The Huntington: Becoming Cuba, M . SpeakEasy Stage: Dogfight, The Light in the Piazza, The Wild Party , Parade, Floyd Collins, Caroline or Change, Saturday Night . Regional: Moulin Rouge .

Wilson Chin

Co-Scenic Designer

Wilson Chin The Huntington: Clyde’s , Teenage Dick , Rosencrantz and Guildenstern Are Dead, Romeo and Juliet , Skeleton Crew , Tiger Style! . Broadway: Cost of Living , Pass Over (Drama Desk and Lortel Award nominations), Next Fall . Off Broadway: A Bright New Boise (Signature), The Thanksgiving Play (Playwrights Horizons), Space Dogs (MCC, Lortel Award nomination), Teenage Dick (Ma-Yi/Public), This Land Was Made (Vineyard).

Jimmy Stubbs

Jimmy Stubbs Off Broadway: Richard II/Henry IV (Theatre for a New Audience); Thebes ( Rattlestick Theater). University: Alcina (Yale Opera); Marisol (University of Rochester); The Juniors (Colgate University); Cabaret (Yale Dramatic Association); Fun Home (Yale School of Drama).

Miranda Kau Giurleo

Costume Designer

Miranda Kau Giurleo SpeakEasy Stage: The Scottsboro Boys (IRNE Award — Best Costume Design); School Girls; Or, The African Mean Girls Play ; Prom; Allegiance . Regional: The Royale (Merrimack Rep & Capital Rep – Albany); The Wickhams: Christmas at Pemberly, The Heath, Native Gardens, A Christmas Carol (Merrimack Rep); The Convert (Underground Railway Theater); Dancing at Lughnasa , The New Electric Ballroom , Lettice and Lovage (Gloucester Stage); Dry Land , Shockheaded Peter (Company One); Macbeth (Commonwealth Shakespeare Company’s Second Stage).

Aja M. Jackson

Lighting Designer

Aja M. Jackson The Huntington: T he Band’s Visit, The Art of Burning . Broadway: Fat Ham . Off Broadway: A Commercial Jingle for Regina Comet, Rock and Roll Man . Regional: Hear Word (A RT / The Public Theater Under the Radar Festival) ; Lost In Yonkers, The Art of Burning, Pride and Prejudice, Simona’s Search [coming soon] (Hartford Stage) ; A Doll’s House, Harvey, World Goes Round, Behold, A Negress (Everyman Theatre); Fences (Shakespeare and Company); World Goes Round (Olney Theatre); Pimpinone and Ino (Boston Early Music Festival) ; Goddess (Berkeley Rep).

Joshua Millican

Sound Designer

Joshua Millican T he Huntington: A Little Night Music . Broadway/West End: Six, Parade (Revival), Head Over Heels, The Band’s Visit, Prince of Broadway, An American in Paris, Sunday in the Park with George, The Bridges of Madison County, Big Fish . His designs have been heard across six continents and include theatre, film, radio, and museum installations. Education: Liverpool Institute for Performing Arts. joshmillican.com  

Vahdat Yeganeh

Vahdat Yeganeh SpeakEasy Stage: English . Regional: ART, Yale Repertory Theatre, the Nora, Underground Railway Theater, Boston Experimental Theatre. Film: Over There (co-producer). Teaching: Learning Lead and the director of Dialogue of Civilizations Program (ART), Theatre and Psychoanalysis (PersPsy Analytic), Theatre of Antonin Artaud and Jerzy Grotowski (New England Conservatory). Publication: Drama for dialogue of civilization (TESOL Journal).   bostonexperimenatltheatre.com      

Rosalind Bevan

Local Casting

Rosalind Bevan The Huntington:  Joy & Pandemic, Clyde’s, K-I-S-S-I-N-G, Joe Turner’s Come and Gone, Common Ground Revisited ,  Our Daughters, Like Pillars, The Bluest Eye,  (Line Producer);  Witch  (Assistant Director); Dream Boston audio plays:  Echoes  and  The 54th in ‘22  (Director).

Emily F. McMullen

Production Stage Manager

Emily F. McMullen  has stage managed over 30 shows over the past nine seasons at The Huntington, including John Proctor is the Villain, The Band’s Visit, The Lehman Trilogy, Clyde’s, The Art of Burning, Common Ground Revisited, Hurricane Diane, Sweat, Rosencrantz & Guildenstern Are Dead, Indecent, Romeo and Juliet, A Doll’s House, Part 2, Man in the Ring, The Niceties, Top Girls, Bad Dates, Tartuffe, and Merrily We Roll Along .

Lucas Bryce Dixon

Stage Manager

Lucas Dixon  The Huntington: John Proctor is the Villain, The Band’s Visit, Fat Ham, The Lehman Trilogy, Clyde’s, Joe Turner’s Come and Gone, Common Ground Revisited, The Bluest Eye, Hurricane Diane, Yerma .

Lyndsay Allyn Cox

Producing Director

Lyndsay Allyn Cox The Huntington (acting): Common Ground Revisited ; Our Daughters, Like Pillars ; Witch . Regional (directing): Chicken and Biscuits (Front Porch Arts Collective); Tiny Beautiful Things (Gloucester Stage); Splash Hatch on the E Going Down (The Nora Theatre Company). Regional (acting): Fairview , Men on Boats ( SpeakEasy Stage); Fabulation (or the Re -E ducation of Undine) , Barbecue, By The Way, Meet Vera Stark (Lyric Stage Company); Bright Half Life (Actors’ Shakespeare Project); The Three Musketeers (Greater Boston Stage Company); Winter People (Boston Playwrights’ Theatre); Caroline, Or Change ( Moonbox Productions); The Overwhelming , Leftovers (Company One).

Sondra R. Katz

General Manager

Sondra R. Katz (General Manager) is in her nineteenth season at the Huntington. She has worked on Broadway, Off Broadway, and regionally as a stage manager, company manager, production manager and general manager.

Dori A. Robinson

Assistant Director

Dori A. Robinson The Huntington:  Prayer for the French Republic .  Directing credits include  Silent Sky, The Elm Tree ,  Fully Committed, A Bright Room Called Day, Julius Caesar, The Merchant of Venice, The Lion in Winter ,  Winter of Discontent, Peter and the Starcatcher ,  A Bintel Brief, The Chelmites Capture the Moon .

Assistant to the Director

Huan Bui Regional: As You Like It, Picnic on the Battlefield, Shipwrecked! An Entertainment ! (Shakespeare Theatre of New Jersey). University: L ove’s Labour’s Lost , God of Carnage , Marisol, The Laramie Project , In the Book Of…, Tribes (UARK Theatre). Education: MFA in Theatre Directing (University of Arkansas). Huan is a Vietnamese theatre maker and a 2023-2024 Literary and Artistic Fellow at SpeakEasy Stage.  

Lee Nishri-Howitt

Voice Coach

Lee Nishri -Howitt The Huntington: Prayer for the French Republic, The Lehman Trilogy , Romeo and Juliet, The Art of Burning . Regional: Once, Allegiance ( SpeakEasy Stage); The Book of Will, A Gentleman’s Guide to Love and Murder (Lyric Stage); Oliver!, Hair, Trayf (New Rep); Little Women, James and the Giant Peach (Wheelock Family Theatre); All is Calm (Greater Boston Stage Company).

John-William Gambrell

Rehearsal Musician/Keyboard 2 Substitute

John-William Gambrell The Huntington:  The Lehman Trilogy  (copyist) .  Other copyist credits:  The Lehman Trilogy  (St. Louis Rep);  Romeo and Juliet, The Tale of Despereaux  (The Old Globe). His original musical,  Toothy’s Treasure , made its Off Broadway workshop debut at the Theater Center in NYC in 2023. A production at the Boston Center for the Arts followed that same year.

Additional Staff for The Band’s Visit

Assisstant Director………………………Dori A. Robinson

Associate Music Director………………Daniel Rodriguez

Dialect Coach……………………………Lee Nishri-Howitt

Intimacy Consultant…………………….Kayleigh Kane

Assistant to the Director………………….Huan Bui

Vocal Coach……………………….David Freeman Coleman

Skating Consultant………………………..Pandora Bassett

Production Assistants……………………………Ross Gray, Kendyl Trott

Carpenters……………………………………..Allie Zalewski Hannah Ashe, Joe Ellard, Max Rocca, Nick Robinette Steven Asaro, Amy West

Automation Run Crew……………………..Charlie Berry

Scenic Artists……………………………………Sam Galvao

Props Artisan………………………………………..Ian Thorsell

Stitcher…………………………………………Sasha Nemi Lato

Wardrobe Run…………………………………..Jennie Fuchs

Wardrobe Swing……………………Katherine Lawrence

Wig Run…………………………………………Kiara Escalera

Season Electrician………………………Violet Gayzagian

Electricians……………………………………Anna Brevetti, Jemma Kepner, Joseph Lark-Riley, Callie Moos, Nick Robinette

Follow Spot Operators……………………Kaitlin Smith, Brian Vlasak

Audio Run A1……………………………..Lexie Lankiewicz

Robb Simring……………………………….Acoustic and Electric Bass Substitute

Read the full interview: LEGENDS OF THE COSTUME SHOP

Discount tickets.

The Huntington offers many different affiliation and aged-based discounts off our ticket prices. Discounts can be applied online, in person, or over the phone. Patrons who purchase discounted tickets must pick up their tickets and provide proof of ID or eligibility at ticketing services before the show. All discounts are subject to availability.

HYPE discounts

$40 tickets are available any time for patrons age 40 years and younger as part of our HYPE program (Huntington Young Patron Events). Valid ID required. Tickets are subject to availability and some zone restrictions may apply. Use promo code DISCOUNT to access HYPE (40 Below) pricing. I nput code DISCOUNT before seat selection. Promo will apply at checkout. Learn more about HYPE .

Student discounts

$25 tickets are available to all performances for full-time students. Use promo code DISCOUNT to access Student pricing.  Valid ID required.

Active US Military

$25 tickets are available to all performances for Active US Military and their immediate family. Use promo code MILITARY to access US Military pricing.  Valid ID required.

Huntington Community Membership Initiative

$20 tickets are available to all performances for participants in the Huntington Community Membership Initiative. Use your exclusive HCMI promo code tied to your organization to redeem. Learn more about our Huntington Community Membership Initiative .

$30-$35 Tickets

In addition to our age and affiliation-based discounts, a limited number of unrestricted $30-$35 tickets are available at each performance.

Accessibility discounts

Patrons who are Deaf and/or blind/low-vision and their guests can purchase tickets to designated ASL-Interpreted or Audio Described performances for $20 each.  Learn more about accessible performances .

Limited Pay-What-You-Wish

At The Huntington, we believe price shouldn’t be a barrier for folks to enjoy world-class theatre. Because of this, we have a limited number of Pay-What-You-Wish tickets available for all Huntington performances for those who need them. Pay-What-You-Wish is not available online. For more information or to purchase tickets, visit Ticketing Services in person at either box office location or call us at 617-266-0800.

Group sales

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The Band's Visit

Jun 25, 2019, jul 31, 2022, about this production.

• Production Staff
• Opening Night Cast
• Replacements
• Songs music by David Yazbek ; lyrics by David Yazbek Waiting The Residents of Bet Hatikva Welcome to Nowhere Dina, Itzik and Papi It Is What It Is Dina The Beat of Your Heart Avrum, Itzik, Simon and Camal Soraya The Band Omar Sharif Dina Haj-Butrus The Band Papi Hears the Ocean Papi Haled's Song About Love Haled and Papi Something Different Tewfiq and Dina Itzik's Lullaby Itzik and Camal Something Different (Reprise) Dina Answer Me Telephone Guy and Ensemble

Engagement Dates

City and state.

• The Band's Visit Story

Spend an evening in the company of unforgettable strangers at The Band’s Visit —now one of the most celebrated musicals ever. It rejoices in the way music brings us to life, brings us to laughter, brings us to tears, and ultimately, brings us together. In an Israeli desert town where every day feels the same, something different is suddenly in the air. Dina, the local café owner, had long resigned her desires for romance to daydreaming about exotic films and music from her youth. When a band of Egyptian musicians shows up lost at her café, she and her fellow locals take them in for the night. Under the spell of the night sky, their lives intertwine in unexpected ways, and this once sleepy town begins to wake up.

• Broadway Shows
• The Band's Visit on Broadway

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Your home for information about the touring broadway productions in north america, the band’s visit.

• ^ Rescheduled from the 2019/2020 season
• # Rescheduled from the 2020/2021 season
• # Rescheduled to the 2021/2022 season
• * Shows from 13-15 March 2020 were cancelled
• ^ Rescheduled to the 2020/2021 season
• # Rescheduled to the 2021/2022 season

• Runtime: 1 hour 40 minutes
• Intermissions: 0
• Age Recommendation: 10+
• Download  The Band’s Visit study guide

An Egyptian Police Band arrives in Israel to play a concert. After a mix-up at the border, they are sent to a remote village in the middle of the desert. With no bus until morning and no hotel in sight, these unlikely travelers are taken in by the locals. Under the spell of the desert sky, their lives become intertwined in the most unexpected ways.

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Original Broadway Cast Recording (CD) Original Broadway Cast Recording (MP3) Vocal Selections The Band’s Visit (TCG Edition)

• Welcome to Nowhere
• It Is What It Is
• The Beat of Your Heart
• Omar Sharif
• Papi Hears the Ocean
• Haled’s Song About Love
• Something Different
• Itzik’s Lullaby

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The Band's Visit

The huntington theatre 264 huntington ave. boston, ma 02115.

In this Tony Award-winning, feel-good musical, an Egyptian band of musicians is stranded in a small Israeli town after a transportation mix up, and with no lodgings available, the locals take them in for the night. By morning, surprising connections have been made and friendships forged over moments of shared humanity and love of music. A brief visit can have a lasting impact in this stunning musical adaptation of the acclaimed 2007 film that cast a spell over Broadway.  

Music & Lyrics by David Yazbek

Book by Itamar Moses

Based on the screenplay by Eran Kolirin

Directed by Paul Daigneault

Choreography by Daniel Pelzig

Music Direction by José Delgado

A co-production with   SpeakEasy Stage

90 minutes with no intermission.

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The Huntington is Boston’s leading professional theatre and one of the region’s premier cultural assets. Since its founding in 1982, The Huntington has received over 150 Elliot Norton and Independent Reviewers of New England Awards, as well as the Tony Award for Outstanding Regional Theatre. In the past 36 years, The Huntington has played to an audience of 3.5 million, presented over 200 plays.

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44th Season

Mar 1 2022 ---> - Mar 6 2022

The critically acclaimed smash-hit Broadway musical The Band’s Visit is the winner of 10 Tony Awards, including Best Musical, making it one of the most Tony-winning musicals in history.  It is also a Grammy Award® winner for Best Musical Theater Album.

In this joyously offbeat story, set in a town that’s way off the beaten path, a band of musicians arrive lost, out of the blue.  Under the spell of the desert sky, and with beautiful music perfuming the air, the band brings the town to life in unexpected and tantalizing ways.  Even the briefest visit can stay with you forever.

With a Tony- and Grammy-winning score that seduces your soul and sweeps you off your feet, and featuring thrillingly talented onstage musicians, The Band’s Visit rejoices in the way music makes us laugh, gives us hope, and ultimately, brings us together.

Rating: Recommended for ages 10+

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Review Roundup: THE BAND'S VISIT National Tour Takes the Stage; What Did the Critics Think?

The tour returned to the stage at the Durham Performing Arts Center in Durham, NC.

The North American tour of the 10-time Tony Award-winning Best Musical THE BAND'S VISIT, featuring music and lyrics by Tony and Drama Desk Award®-winner David Yazbek , has hit the road! The tour returned to the stage at the Durham Performing Arts Center in Durham, NC.

Award-winning Israeli film actor Sasson Gabay reprises the role of Tewfiq, the role he created in the 2007 film of THE BAND'S VISIT and has played on Broadway and in more than 17 cities on the First National Tour. Joining him to lead the company is the critically acclaimed actress Janet Dacal (Prince of Broadway, Wonderland, In The Heights) in the role of Dina.

Let's see what the critics are saying...

Durham Performing Arts Center - Durham, NC

Nicole Ackman, BroadwayWorld : Gabay is an accomplished Israeli actor who also played the role of Tewfiq in the film that the musical is based on. It's very exciting to get to see him bring the role to life again onstage. Dacal brings a sultry and confident air to Dina that is perfect for her character. Another standout of the cast is Joshua Grosso as the Telephone Guy, who guards the telephone waiting for his faraway girlfriend to call and has a beautiful voice in his song, "Answer Me."

Garrett Southerland, Talkin' Broadway : Gabay created the role of Tewfiq in the original film, and he played the role on Broadway after Tony Shalhoub (who originated the role there) left. Bookwriter Itamar Moses limits our understanding of Tewfiq until near the end of the show, and by then the audience has barely a chance to empathize with him. This is the case with many of the characters in fact-all but cafe-owner Dina (portrayed sternly by Janet Dacal ), who clearly is the focus of development. The musical runs about 80 minutes without an intermission, and it feels as though there was room to develop the other characters more. Ms. Dacal's performance is credible though lacking some passionate resonance. All of that said, The Band's Visit pushes back against common American stereotypes of Middle Easterners with authentic and positive representation.

Civic Center Of Greater Des Moines - Des Moines, IA

DC Felton, BroadwayWorld :

The cast of "The Band's Visit" is mesmerizing. They drew the audience in from the top of the show, no matter what size of a role their character had in the show. Leading the show in the role of Sasson Gabay as Tewfiq, the role he originated in the movie "The Band's Visit" and then later joined the Broadway cast as a replacement for Tewfiq. I appreciated the nuances he brought to the character, which influenced how he interacted with each cast member. As he revealed more about his character to the audience, what drove his relationships with each actor onstage became very clear.

Tennessee Performing Arts Center - Nashville, TN

Jeffrey Ellis , BroadwayWorld : The musicians and their conductor, Tewfiq ( Sasson Gabay warmly recreates onstage the role he first played in the film version that inspired the musical) arrive in the village of Bet Hatikva as the result of miscommunication when Haled's (the band's trumpet player brought to vivid life by Joe Joseph ) Egyptian accent doesn't sound quite like "Petah Tikva," their destination. With no other bus available until the following morning, the musicians find refuge with townspeople eager for something different to happen in their lives. The resulting confluence of cultures and personalities might, at first blush, seem rather predictable and somewhat mundane, but as the disparate figures get to know one another, something far more consequential transpires and the Egyptians find common ground and friendship with their Israeli hosts, buffeted by a shared sense of loneliness and melancholy that somehow proves hopeful and redemptive.

Amy Stumpfl, Nashville Scene : Still, there are some really gorgeous performances here, and it's exciting to see Sasson Gabay reprising the role of Tewfiq (the part he originated in the original film and later took on as a replacement on Broadway). Janet Dacal also puts her own stamp on the pivotal role of Dina, drawing us in with numbers like " Omar Sharif " and "Something Different." But some of the evening's most memorable bits come from the supporting cast - including Joe Joseph , who delivers a dreamy rendition of "Haled's Song About Love," and Clay Singer , who infuses "Itzik's Lullaby" with aching honesty. "The Beat of Your Heart" provides yet another highlight, featuring the wonderful David Studwell as Avrum, an Israeli widower who bonds with his Egyptian guest over memories of music and youthful romance.

Shea's Performing Arts Center - Buffalo, NY

Michael Rabice, BroadwayWorld : Janet Dacal is mesmerizing as Dina. Physically beautiful, with a deadpan dry delivery, Dacal inhabits this fascinating character with elegance. Given Dina's background as a dance, Dacal's every movement is choreographed with subtlety. She houses the orchestra leader Tewfiq and trumpeter Haled for the night and becomes captivated by Tewfiq, played brilliantly by Sasson Gabay . Mr. Gabay has the distinction of playing the same role in the movie version, upon which the musical is based. He is a self confident man who hides his emotions and leads with authority.

Melinda Miller, Buffalo News : "The Band's Visit" doesn't have that "big" moment. This story exists in a place where it's the small moments that count. On this night in a small town in Israel, humanity breaks out between Arabs and Jews. And, in the morning, the bus to Petah Tikva arrives.

Peter Hall, Buffalo Rising : The stage is very clever, using those rotating concentric circles that we've seen before in HAMILTON. For me it isn't a musical without a counterpoint duet and here we get the Israeli Itzik singing a lullaby with the Egyptian Camal singing in Arabic. Very cool. And I only feel I've gotten my money's worth at a musical when I get choked up. It always happens during Act II of CAROUSEL, it happens during "Paul's Story" in A CHORUS LINE, and now here, in a brief moment late at night in Dina's apartment, it happens again.

Ann Marie Cusella, Welcome 716 : The Middle Eastern music is one of the stars of the show. It is spectacular. From the rousing Overture at the start and Concert at the end, we are treated to such beautiful music that our spirits take wing and we are transported to a place that is sweet and spicy, filled with love and longing. Chet Baker shows up, too, as does George Gershwin. Hmmm.

Bushnell Center for the Performing Arts - Hartford, CT

Christopher Arnott, The Hartford Courant : This is a special show, one that is not only calm and contemplative but laid back and aggressively humble. David Yazbek creates some lovely emotional songs about loss, delayed dreams and, yes, endless waiting. But he also is happy to bring other composer's melodies onto his turf. There's an amusing Israeli/Egyptian singalong to the Gershwins' "Summertime" from "Porgy & Bess." Boney M.'s over the top disco version of Bobby Hebb's soul/pop classic "Sunny" soundtracks a roller disco scene.

Nancy Sasso Janis, Patch : Janet Dacal (who was part of the original Broadway cast of "In the Heights" and "Prince of Broadway") is wonderful in the leading role of Dina, a restaurant owner in this small Israeli town. Israeli actor Sasson Gabay is very strong in the role of the band leader Tewfiq, the role he played in the film version of "The Band's Visit." Joe Joseph, who appeared on Broadway in "The Band's Visit," is charming and handsome in the role of band member Haled and Clay Singer, who has appeared onstage at the Westport Country Playhouse, plays the role of the young father Itzik.

Mark G. Auerbach, The Westfield News : David Cromer's staging brings out the many wonderful nuances of "The Band's Visit," and the sets, costumes, lighting and sound are as polished as one might have experienced seeing the show on Broadway. Janet Dacal (who was fantastic in Goodspeed's "Bye Bye Birdie") and Sasson Gabay, an Israeli actor who starred in the original film, are terrific.

Bonnie Goldberg, The Middletown Press : One wrong turn, one misunderstood direction, the lack of a map or GPS and one can find oneself stuck in the middle of nowhere. That is the fate of a band of musicians traveling from Egypt on their way to perform a concert in Petah Tikvah in Israel. Through mistakes and poor language skills, they end up in the forsaken town of Bet Hatikva, unexpected and uninvited.

Jarice Hanson, In The Spotlight : "The Band's Visit" is what we need after the prolonged pandemic has beaten so many of us down. It is simple, honest, and transformative. On opening night, the sound quality in the auditorium at the Bushnell (often problematic) made it difficult to understand every word spoken by the heavily accented actors, but the message was clear, and "The Band's Visit" is an encouraging reminder that simplicity can be a good thing, and finding a way to communicate with others, lifts our hearts.

Dolby Theatre - Hollywood, CA

Charles McNulty, The Los Angeles Times : At a time when everyone seems to be so angry, conflicts appear to be irresolvable and communion no longer within reach, "The Band's Visit" is like balm for a tired spirit. The musical touched me deeply when I saw it on Broadway in 2017, but after such a long period away from the theater, I found the show even more profoundly affecting.

Cary Ginell, BroadwayWorld : If the very human story depicted in The Band's Visit can be seen as a painting, the on-stage orchestra serves as the palette of colors with which it is painted. The music played by the members of the on-stage seven-piece band, which includes conventional orchestral instruments like clarinet, cello, and violin, combined with Arabic instruments like the twelve-string oud, and the crisp percussion of the bongo-like darbouka, float in and out of every scene, either appearing on the periphery to accent dialog or featured in between-scene interludes. Even the band's powder-blue uniforms, which one villager likens to the Beatles' "Sgt. Pepper" outfits, brighten up the drab desert hamlet.

Deborah Howell, The Wave : The cast is led by Sasson Gabay as the band's conductor, Tewfiq, reprising the role he played in the 2007 movie "The Band's Visit" and the role he inherited from Tony Shaloub on Broadway. He's a delight as he riffs with L.A.'s own Janet Dacal (Dina) the café owner who against all odds invites the band to stay for dinner and then to stay the night at the homes of various friends.

Imaan Jalali, LA Excites : Janet Dacal is mesmerizing as Dina, who, despite being frazzled by the travails and regrets in her life, sees a reawakening upon finding serendipitous common ground between herself and Gabay's Tewfiq. This is never more evident than during "Omar Sharif" and "Something Different," thanks to Dacal's breathtaking voice which soars with joyful expectation out of the dreariness that envelops her. More importantly, the bonding of Dina and Tewfiq highlights a lovely vulnerability, humanity, and co-existence that should always, but sadly doesn't, epitomize relationships in the strife-ridden Middle East.

Victor Riobo, Indulge Magazine : The Band's Visit has none of the splashy musical and dance numbers that seem to define its genre, but neither does it need them; the sublime story, message, and heart are far more captivating than the typical bells and whistles of most musicals. Scenic Design by Scott Pask is appropriately minimal and effective, never distracting from the performances. The cast is in top form, and even fans of the movie will have a tough time picking which version they love more. Joe Joseph (Loveless Texas, Baghdaddy) as Haled, the Chet Baker crooning band member brings comedy and cassanova swagger, seducing us with one of the evening's most exquisite numbers - the jazzy, Haled's Song About Love.

Keller Auditorium - Portland, OR

Krista Garver, BroadwayWorld : The ensemble, led by Janet Dacal as Dina and Loren Lester (the standby for Tewfiq who went on the night I went), is excellent. There's a lot of white space in the show - silent moments where communication happens via glances and facial expressions. I can see it being tempting to clobber these moments - we're not so used to silence, especially in a space as big as the Keller. But the cast resists that temptation, giving the words room to breathe and also heightening the impact when the music and emotions soar.

Golden Gate Theatre - San Francisco, CA

Lily Janiak, Datebook : The show, directed by David Cromer, believes in the force of a lonesome melody - how a humble air on the clarinet can lull a squalling infant and soften its squabbling parents, how a remembered strain can summon a lost partner and suggest a yearning, however inchoate, for something new. It believes that no matter how small we seem, arias burn inside us.

Steve Murray, BroadwayWorld : The show needs to be in a more intimate theatre setting a some of the gentle subtleties can be lost in a cavernous space. The musicianship is superb and a joy for the ear. Tony Award-winner Scott Pask 's set designs convey the drabness of the desert town and Tony Award-winner Tyler Micoleau (Lighting Design) and Tony Award-winner Kai Harada (Sound Design) add to the atmosphere and musical setting.

Karen D'Souza, Mercury News : While the leads in this touring production may not have the same explosive chemistry that Tony Shaloub and Katrina Lenk had on Broadway, the romance of the musical retains its incandescent glow. Dacal enchants in the "Omar Sharif" number and Gabay, reprising the role he played in the 2007 movie, touches your heart with his keenly developed sense of honor.

ASU Gammage - Tempe, AZ

Herbert Paine, BroadwayWorld : If you've seen the film, you may recall feeling that some of the characters were drawn a little too broadly, yet here, on stage, without any significant changes, they come across as perfectly natural. So, too, does the humor. Reactions a character makes to something spoken are often expressed with a slow, silent burn. For some used to a broader, more direct, play-to-the-back-of-the-house style of comedy, patience is required, but it's this very tender, leisurely paced, understated style not usually experienced in a live performance, that makes THE BAND'S VISIT such a genuine delight.

Civic Theatre - San Diego, CA

E.H. Reiter, BroadwayWorld : Dacal's Dina is lonely, direct, and dreams of leaving the town, even though she knows she never will. She is as changeable as the wind, one minute being warm and welcoming to being cold and confrontational. Gabay's Tewfiq is formal, stiff with both the responsibility as leader of this band and as someone who is haunted by the ghosts of his past.

Pam Kragen, The San Diego Union-Tribune : Sasson Gabay - the same actor who played the orchestra's widowed conductor, Tewfiq, in the film - reprises his role on tour. Now 74, Gabay is exactly the same as the reserved and wounded but lovable character, though he sings less in the musical than he did in the film. Janet Dacal stars as Dina, the frank, uninhibited and bitter Bet Hativkah café owner who falls ever-so-slightly for Tewfiq. Dacal has a gorgeous singing voice and a commanding stage presence.

Pat Launer, Times of San Diego : At the center of the (minimal) action is the orchestra conductor, the widowed Tewfiq (a wonderfully still, controlled Sasson Gabay, who originated the role in the film, winning the Best European Actor Award); and his meeting and coming-together with the sensual, aching but cynical divorcée, Dina (Janet Dacal, a Cuban-American whose Israeli accent often sounds less than credible, though her singing is superb).

Paramount Theatre - Seattle, WA

Jay Irwin, BroadwayWorld : The show is certainly not your typical, rollicking musical. You may not leave the theater dancing or humming your favorite tune (although you may since I find many of the tunes incredibly infectious). But thanks to the gorgeous music of David Yazbek and soul invading book from Itamar Moses as well as the deliberately paced direction of David Cromer , you will leave with a renewed faith in the humanity across all cultures, something we desperately need to remember these days. But it is a slow pace, with many pauses due to the broken English dialog, so allow yourself to sit back and let the jasmine wind sweep over you.

Eccles Theatre - Salt Lake City, UT

Tyler Hinton, BroadwayWorld : The ensemble cast, compellingly directed by David Cromer , is world-class with highly nuanced, screen-worthy performances. These include Janet Dacal as Dina, who played memorable roles in the original Broadway casts of IN THE HEIGHTS (Carla) and WONDERLAND (Alice), and Sasson Gabay as Tewfiq, who interestingly originated the same role in the film.

Ryan Painter, KUTV : Janet Dacal's performance as Dina, the café owner, is a scene stealer. And yes, she's written that way, but that makes Dacal's performance more impressive. The spotlight is on her and she knows exactly what to do with it. It's lovely to have the opportunity to see Sasson Gabay as Tewfiq, he played the character in the original film and the touring production in 2019. They're the heart of the story and there's something tender and tragic to be found in their meeting.

Segerstrom Center for the Arts - Costa Mesa, CA

Michael Quintos, BroadwayWorld : Deceitfully charming despite feeling mostly like a musical where no real obstacles or evils take place or where "nothing" really happens, A LOT does happen in THE BAND'S VISIT, if you peer between the lines and get lost in its hypnotic machinations. There is a quiet beauty at work here, from the simple but lovely musical interludes that transition from scenes and locales to the aching vocal delivery of its characters. The musical posits that even the most seemingly insignificant events in our lives make a lasting effect in our way of thinking or behaving.

Christopher Smith, Orange County Register : A fear I had coming into this evening was how well the jewel that is "The Band's Visit" might shine in a bigger venue like Segerstrom Hall. But at early points in the story's telling - with less music and pauses in the pacing of dialogue to establish the work's muted themes of longing and hope - I was relieved that the audience didn't resort to coughing and throat-clearing to break up the silence, always a tell-tale sign of a disengaged crowd.

Cori Graham, SoCal Thrills : The combination of a rotating stage and musical transitions played by on-stage band members made for a dynamic staging and captivating imagery. My eyes were drawn all over the stage despite the simple (yet effective) set pieces and minimal cast. I was blessed to see Sasson Gabay reprise his role as Tewfiq from his award-winning performance in the 2007 film The Band's Visit . Janet Dacal is an absolute treasure as Dina; with insane comedic timing and warm vocals, she was truly a standout that led me to YouTube when I got home just to hear her sing "Omar Sharif" again.

Lied Center - Lincoln, NE

Analisa Swerczek, BroadwayWorld : Janet Dacal gives a memorable and admirable performance as Dina, a role originated by Tony Award winner Katrina Lenk . While Dacal's vocals are strong, there was a stark contrast between the full resonance of her speaking voice and her higher mask-forward vocals when singing that was a bit jarring at times. Her Dina was grounded and made the audience feel as though she served as the backbone of the town. Her rendition of Omar Sharif was simply stunning, and the dry humor she presented through her line delivery was wonderfully charming.

Orpheum Theatre - Memphis, TN

AniKatrina Fageol, BroadwayWorld : Janet Dacal 's Dina steals the spotlight as soon as she enters the scene. She is drawn to the conductor of the orchestra, Tewfiq, played by Sasson Gabay . Gabay actually portrayed the same character in the film as well as the 2019 touring production. In one of my favorite songs of the show "Itgara'a", Dina takes Tewfiq to a "park" which is just a bench in the middle of Bet Hatikva. However, Dina encourages Tewfiq to use his imagination and describes the park as she sees it. Tewfiq reveals a tragic past and begins to sing. The song is in Arabic so the audience does not necessarily understand the lyrics but it is a touching moment of how music can bring people to laughter and to tears.

Straz Center - Tampa, FL

Drew Eberhard, BroadwayWorld : From top to bottom this cast exquisitely delivers this human-conditioned driven tale with sheer grace and elegance. As Dina, Janet Dacal is alluring, beguiling, and charismatic. You can sense that she is a woman of the world and yet in her heart all she knows is Bet Hatikva. Her delivery during " Omar Sharif ," and " Something Different," is exceptional. Her vocals stand out and make you take notice with every graceful note. You feel something stir in your heart every time Janet sings, and her Dina is perfection.

Rochester Broadway Theatre League - Rochester, NY

Colin Fleming-Stumpf, BroadwayWorld : While "The Band's Visit" boasts interesting characters and expected other trappings of an entertaining stage production, music is indeed the connective tissue that holds the entire story together. Everything from traditional Middle Eastern music to jazz to soothing clarinet concertos get their due, and all the music in this production is thrilling and top-notch. The musicians that occupy various spaces on stage and add flair and color throughout the story were one of my favorite aspects of the show, particularly after the curtain call when the band takes center stage for "The Concert."

Hanover Theatre - Worcester, MA

Kevin T. Baldwin, Telegram : The cast is sublime and all the performances solid, including several last-moment "swings" who hit the stage and performed flawlessly. Swings at the June 16 performance included Dana Saleh Omar as Julia, Hannah Shankman as Iris and Nick Sacks as Itzik.

Kennedy Center - Washington, DC

Pamela Roberts, BroadwayWorld : Janet Dacal as Dina powers the show with her gorgeous voice and high-energy performance. But Dacal also has touching, quieter moments like her memories of watching Omar Sharif movies on tv as a girl. Her scenes with band leader Twefiq, played by Sasson Gabay , are filled with light and humor as Dina encourages the shy and uptight conductor to loosen up and explore the small village with her. Gabay originated the role of Tewfiq in the Israeli film on which the musical was based. Gabay balances both gravitas and reserve in his portrayal of Tewfiq. Dina also plays host to Haled ( Ali Louis Bourzgui ), the smooth trumpeter who seeks to win acclaim with his Chet Baker renditions. Bourzgui brings an earnestness and ease to the role, keeping it sweet rather than slick.

Andre Hereford, Metro Weekly : David Comer's staging also beautifully fuses day-in-the-life storytelling with the naturally performative aspects of onstage musicians. Comer and choreographer Patrick McCollum dance, turn, and revolve the impassioned cast around Scott Pask's evocative sets with subtle, sometimes deadpan, precision.

Susan Brall, Maryland Theatre Guide : This is not a traditional musical with big production numbers with dozens of "gypsies" in bright costumes. The songs here are like poems sung to music. They tell their story, and then they are over-brief, wonderful interludes with just the right ingredients to fill up our senses. Like a seven-course dinner, it's on to the next, wonderful flavor.

Aronoff Center - Cincinnati, OH

Taylor Clemons, BroadwayWorld : At its core, the show is about human connection, and what we mean to one another. The characters of the musical come into each others lives by chance, and while the connection is brief, the show really shines a light on how even the smallest of interactions can bring joy or clarity into someone's life.

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"The real privilege is to see them in rehearsal," he tells Rolling Stone on an early May Zoom from Arizona, a day before a Stones gig. "It's thrilling still, even after all this time. They always get together for at least three or four weeks to rehearse for a leg of the tour. No costumes, no stage set, no smoke and mirrors, no audience of course. They arrive separately in their own cars … They say hi and pick up their instruments, and somehow, they just start to play."

And they play and play and play, rehearsing decades-old concert staples like "Satisfaction" and "Gimme Shelter" as well as running through songs they can swap in and out of set lists on the fly. For the group's Hackney Diamonds Tour , which kicked off in Houston in April, the band spent a month practicing 60 to 70 songs in Los Angeles.

"It's crazy, isn't it?" says Woodroffe, who is creative director and lighting designer at Woodroffe Bassett Design. "They've always had really high standards, particularly about rehearsing, even during some of the more chaotic periods of their career. I see them in rehearsal as a small group of players just wanting to make their music."

Woodroffe's perspective on the Stones, of course, is starkly different to how the rest of the world sees the group. For the Hackney Diamonds run, concertgoers will watch Jagger on the production's nearly 46-foot-tall digital screens, as he and his bandmates traverse around a stage that's approximately 180 feet wide by 65 feet deep. In total, there are close to 2,300 square feet of high-resolution LED screens.

The stage itself, designed by Stufish Entertainment Architects, weighs 485,072 pounds - about the same weight as 71 of those angular, Tron­ -like Tesla Cybertrucks , to pick one comparison. The tour requires 200 touring personnel, 14 of whom are on the video crew, including six camera operators who make the Stones look literally larger than life.

The production concept for Hackney Diamonds was to create a "virtual stage" that can adapt as the show goes on. Where the look of the band's late-Eighties Steel Wheels tour was meant to evoke a dystopia and their mid-Nineties Voodoo Lounge tour reflected internet culture for the entirety of the concert, Hackney Diamonds changes from song to song, almost like sliding TikToks. Every song has its own custom-made look, from the visuals to the lighting.

"We've freshened up everything," Ray Winkler, CEO and design director at Stufish Entertainment Architects, says. "The stage is embellished by all of the digital media around them, and that, by default, makes it very contemporary. It's very clean-edged. It's not about the physical presence of a stage set but the continuing, evolving, and developing imagery that you see on the screens."

"In one minute, it's a very simple, geometrical building; nature takes over the next; and then it's sort of a Jasper Johns American flag ," Woodroffe says. "We can change the way the stage looks in a virtual way."  Still, Woodroffe says he worked with the band to connect everything into a cohesive statement.

During its month of rehearsals, the band ran through about half of the 12 tracks on Hackney Diamonds ; they've played four of them at concerts so far. By preparing for more, the crew could be ready for the band to surprise them at a moment's notice and keep the production running seamlessly.

The songs on this tour are arranged into distinct acts: openers, Richards' songs, the "home run" (as Woodroffe calls main-set closers), and then the encore. "The thing is quite well structured to the point that you can change out a song – if it has the same sort of feeling, the same sort of tempo – and not lose the flow or the way that the set works," Woodroffe says.

"It's a team effort," Winkler says. "It's a massive endeavor to get a project like this from an idea on paper into reality. There's a lot of unsung heroes that contribute toward the success of it."

Traditionally, Woodroffe worked closely on the look and feel of a tour starting about half a year before the first gig with Jagger and drummer Charlie Watts , who died in 2021, as well as Stufish founder Mark Fisher, who died in 2013. This time, after starting with Jagger and Winkler in the fall, Woodroffe ran the concept by Richards and Wood, who gave input. From there, they designed the stage sets, worked with costume designers, and commissioned videos from a studio called Treatment to play along with the songs. Eventually, they teamed up for rehearsals and got it all working together.

For Hackney Diamonds , the look of the tour began with the album launch last September in London, and they continued test-driving some of the looks at the band's New York City pop-up concert in October. There was still no firm commitment for tour dates at that point, but Woodroffe and the creative team figured it was coming, so they started formulating what a stadium tour could look like. Around that time, they started working with Winkler and Stufish and the company that makes the films for them. From there, it was just a few months of production. The tour announcement came in November, giving them time to refine the look of it.

"I never want it to look too slick," Woodroffe says. "This band is really authentic. Audiences will always be able to spot whether a performance is the real thing or not. It may be the soundtrack for the lives of the people in the audience, but it's also the soundtrack of the Stones' lives. They gift us their music, and that's the real embrace. That's the real thing."

Winkler strikes a similar note. "At the end of the day, you want everything we do to come together," he says. "You want that to be a catalyst to enhance the performance of the Stones in front of a very large crowd."

Woodroffe programmed the lighting for the tour in Chicago and met up with the band in Houston for five days of rehearsals. "It was very exciting seeing it all up in Houston for the first time and feeling that we kind of got it right," Woodroffe says. "When you get over that first hurdle that it's actually going to work, then the fun part is finessing it and marrying it with the music and the visuals to make something special." After overseeing the kickoff show, Woodroffe traveled with the band for their special appearance at Jazz Fest in New Orleans and made sure everything was working well again at the Glendale, Arizona, gig before flying home to England.

If and when the band is ready to design another tour after this one, Woodroffe says he's ready, because he never knows when the call is going to come. "You will never know when the Stones are going to do their last performance," he says. "None of us will. And not because there's any mystique about it, it's just the way they work. They finish a tour and go off on holiday and the tour promoters will offer them some new dates, they'll go, ‘Yes,' and off we'll go."

More from Rolling Stone

• The Rolling Stones Are Going on a 2024 Stadium Tour - Here's Where to Buy Last-Minute Tickets
• Watch the Rolling Stones Play 'Time Is on My Side' With Irma Thomas at Jazz Fest
• Rolling Stones Unveil 'Hackney Diamonds' Edition of Band's Crossfire Hurricane Rum

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Grupo Frontera Announces Jugando A Que No Pasa Nada Tour: Here Are the Dates

The Live Nation-produced stint kicks off in Las Vegas.

By Griselda Flores

Griselda Flores

Senior Editor, Latin

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Just days after releasing sophomore studio album Jugando A Que No Pasa Nada , Grupo Frontera has unveiled dates for its upcoming tour, set to kick off Aug. 2 in Las Vegas.

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All the u.s. tours from latin artists announced for 2024 (updating).

Besides releasing the new album — which includes collabs with acts such as Nicki Nicole, Maluma and Morat — Frontera recently nabbed its eighth No. 1 on the Regional Mexican Airplay chart thanks to the Christian Nodal-assisted “Ya Pedo Quien Sabe.”

The Jugando A Que No Pasa Nada U.S. Tour general onsale will begin Friday, May 17, at 10 a.m. local time at LiveNation.com .

• Aug. 2 — Las Vegas — T-Mobile Arena
• Aug. 3 — Phoenix — Footprint Center
• Aug 4 — El Paso, Texas — Don Haskins Center
• Aug. 9 — Dallas — American Airlines Center
• Aug. 10 — Houston — Toyota Center
• Aug. 15 — Laredo, Texas — Sames Auto Arena
• Aug. 16 — Austin — Moody Center
• Aug. 17 — San Antonio — Frost Bank Center
• Aug. 18 — Oklahoma City — Paycom Center
• Aug. 21 — Nashville — Bridgestone Arena
• Aug. 22 — Atlanta — State Farm Arena
• Aug. 24 — Orlando, Fla. — Kia Center
• Aug. 25 — Sunrise, Fla. — Amerant Bank Arena
• Aug. 27 — Greensboro, N.C. — Greensboro Coliseum
• Aug. 29 — Brooklyn, N.Y. — Barclays Center
• Aug. 31 — Washington, D.C. — Capital One Arena
• Sept. 4 — Montreal, Quebec — Place Bell (Canda_
• Sept. 7 — Chicago — Allstate Arena
• Sept. 8 — Milwaukee — Fiserv Forum
• Sept. 11 — Kansas City, Mo. — T-Mobile Center
• Sept. 13 — Salt Lake City — Maverik Center
• Sept. 15 — Tacoma, Wash. — Tacoma Dome
• Sept. 20 — Los Angeles– Intuit Dome
• Sept. 22 — San Francisco — Chase Center
• Sept. 26 — Sacramento, Calif. — Golden 1 Center
• Sept. 27 — Fresno, Calif. — Save Mart Center
• Oct. 2 — San Diego — Viejas Arena
• Oct. 5 — Edinburg, Texas — Bert Ogden Arena
• Oct. 24 — San Luis Potosí — El Domo (Mexico)
• Oct. 26 — León, Guanajuato — Mega Velaria (Mexico)
• Oct. 31 — Torreón, Coahuila — Coliseo Centenario (Mexico)
• Nov. 2 — Guadalajara, Jalisco — Arena VFG (Mexico)
• Nov. 7 — Monterrey, Nuevo León — Arena Monterrey (Mexico)
• Nov. 9 — Tijuana, Baja California — Plaza de Toros (Mexico)
• Nov. 15 — Mexico City — Palacio de los Depoartes (Mexico)
• Nov. 20 — Mérida, Yucatan — Foro GNP Seguros (Mexico)
• Nov. 22 — Puebla — Auditorio GNP Seguros (Mexico)
• Nov. 23 — Veracruz — WTC (Mexico)

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Randy Travis, His Original Band & Vocalist James Dupré

• Date & Time June 5 , 2024 7:30 PM
• Time 7:30 PM
• On Sale On Sale Now
• Ticket Pricing $39.50 - $79.50

“We are incredibly excited to be back on the road and give Randy’s fans a chance to hear his music live again, and who better to sing his many hits than James Dupré?” said Mary and Randy Travis. Travis recently released Forever and Ever, Amen: A Memoir of Music, Faith and Braving the Storms of Life which has outpaced projections and has been featured on TODAY, the 700 Club, People Magazine, Billboard and more. The book is available at most online retailers as well as Barnes and Noble, Cracker Barrel, Books-a-Million and more. Always wanting to please his fans, the long-time Grand Ole Opry star also dropped two never-before-heard singles this summer, “One in a Row” and “Lead Me Home.”

For more information about the More Life Tour, the Forever and Ever, Amen memoir and everything Randy Travis, please visit www.RandyTravis.com.

Want to make your night at the Ryman an iconic one? Snag a spot in our new and improved Ford Lounge. Hang out in our recently-expanded private space, grab some food and a top-shelf drink from the open bar, and take home a commemorative Hatch Show Print Poster.

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Ryman Auditorium

Ryman Auditorium, located at 116 Rep. John Lewis Way North, in Nashville, Tennessee, is one of the most celebrated venues in modern music. Built in 1892, the historic 2,362-seat live performance venue is the most famous former home of the Grand Ole Opry and is revered by artists and music fans for its world-class acoustics. A bucket list moment for both fans and artists alike, her iconic stage has hosted performers from across genres, such as Elvis Presley, Bruce Springsteen, Charley Pride, Loretta Lynn, Johnny Cash, Harry Styles, Wu-Tang Clan, Lizzo, and thousands more. While offering a diverse lineup and thriving concert schedule with over 200 shows per year, the venue is also open for daytime tours year-round. Along with best-in-class production technologies and livestream capabilities, the Ryman has been named  Pollstar ’s Theater of the Year for 13 years through 2021.

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The Script announce exciting news after welcoming two new band members

The Script are gearing up to paint the town green once again as they've announced their seventh studio album and a new tour to accompany it!

On Friday, Danny O'Donoghue and Glen Power revealed their next album Satellites will be released on August 16 and that the first single Both Ways has already dropped.

The band will be accompanied by singer Tom Walker on their Satellites World Tour later this year, which will see them perform in Belfast's SSE Arena on Wednesday, November 13, and Dublin's 3Arena on Friday, November 15.

Mark your calendars! Fans can get their hands on tickets to the Satellites World Tour when they go on sale on Friday, May 24 at 9.30am.

The news comes just over one year after the  death of Danny and Glen's beloved bandmate and best pal Mark Sheehan , who sadly passed away at the age of 46 on April 14, 2023 after a short illness.

Danny and Glen recently announced that they had inducted two new members , bassist Ben Sargeant and guitarist Ben Weaver, into The Script Hall of Fame.

Sharing the news at the time, they wrote: 'Hi Script Family, You all know how much we care about you and value your opinions and the connection we share.'

'Before everything begins, we just wanted to touch base and share our plans moving forward,' they continued. 'It's been over a year since we lost our brother Mark, and it has been the toughest year of our lives.'

'However, your love and support have carried us through, giving us the strength, inspiration and hope to move forward.'

'The Script, as a three-piece, will never be the same, so transitioning to a four-piece feels like the right way to go,' Danny and Glen admitted. 'It is a sign of respect to leave the past as it was and not to attempt to replicate it, as we simply never will.'

'Ben Sargeant has been with us on bass from the start, and we are excited to welcome Ben Weaver on stage with us on guitar.'

Concluding their message, they wrote: 'The Script Family means everything to us. Without you, there is no Script, so we wanted to share our plans with you first before we start this new chapter. We can't wait to see you on the road.'

If Mark could see them now, there's no doubt he'd be proud!

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