He did — faster than many young actors could reasonably expect. Less than a year later, Richardson was on the road with the first national tour of “The Notebook,” performing a role he had quietly hoped might one day be his.

“I remember thinking, ‘Gosh, I would love to do that show someday,’” Richardson said, speaking by phone from a tour stop in West Palm Beach, Florida. “I definitely thank my lucky stars every single day.”

“The Notebook,” based on Nicholas Sparks’ bestselling novel and the popular 2004 film, comes to the Peace Concert Hall in Greenville June 9-14. The production marks the first national tour of the musical, which premiered on Broadway in 2024.

Related: Peace Center’s 2026-27 Broadway season preview

The music and lyrics by multi-platinum singer-songwriter Ingrid Michaelson lean toward a folk-and-country music vibe rather than a traditional Broadway soundscape.

Richardson, 24, plays Johnny, a character created specifically for the musical and absent from the original novel. In a show known for emotional heft — Alzheimer’s disease sits at the center of the story — Johnny offers comic relief while also developing a meaningful relationship with older Noah.

“There’s a lot of comedy in this role,” Richardson said. “Johnny is there to help you turn on a dime when you’re wiping your tears away.”

For Richardson, the production carries personal resonance. His grandmother died from Alzheimer’s disease, making the story especially moving when he first saw the Broadway production shortly after moving to New York.

“It hit home in a lot of ways for me,” he said.

Becoming an actor

Unlike the film, which follows one pair of actors through much of the romance, the stage adaptation uses three actors each to portray Allie and Noah at different ages. Richardson said that approach deepens the show’s emotional impact.

“You see them choose each other at every single point in their life,” he said.

Richardson, originally from Nashville, found his way to Coastal Carolina through recommendations from others he knew. Once he met the faculty, he said, the decision became easy.

“I truly feel like I became an actor at Coastal,” he said. “When I was growing up, music was leading my love for theater. But when I got to Coastal, I really developed this love for acting.”

Now based in New York, Richardson has spent the past nine months traveling the country with the show, which recently celebrated its 250th performance.

Between eight shows a week, he still finds time to explore cities, often through golf or rock climbing.

He already knows Greenville, having visited while attending Coastal and stopping through on drives home.

“I love Greenville,” he said. “I’m so excited to return.”

Want to go?

What: “The Notebook: The Musical”

When: June 9-14

Where: Peace Concert Hall, 300 S. Main St., Greenville

Tickets: $71-$121.50

Info: 864-467-3000 or peacecenter.org

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Motte’s response became legend.

“Oh, burn it,” she reportedly told them, according to historical accounts. “I will watch it with delight.”

That moment of sacrifice sits at the heart of actor Chris Weatherhead’s portrayal of Motte during Greenville Chautauqua’s admission-free History Comes Alive Festival, where historical figures are brought to life through solo performances.

This year’s festival, June 12-23, celebrates the 250^th anniversary of the Declaration of Independence with the theme of “Revolutionary Americans.”

Other featured figures — each transformative in his or her own way — include:

• Captain Henry Felder — South Carolina patriot and militia leader who authored an early Declaration of Separation from Britain.
• Edgar Allan Poe — Influential writer and pioneer of detective fiction and gothic literature.
• Mother Jones — Labor activist who fought for workers’ rights and against child labor.
• Paul Robeson — Renowned singer/actor, athlete, and civil rights advocate.

Weatherhead, co-founder of Actors Theatre of South Carolina, has spent 14 years researching and portraying Motte, the South Carolina Patriot remembered for agreeing to sacrifice her Congaree River home — later called Fort Motte — to help force a British surrender.

“She would probably say, ‘I just did what any freedom-fighting woman would have done,’” Weatherhead said in a recent interview. “But people really respect her willingness to sacrifice her house.”

Weatherhead’s husband, Clarence Felder, performs as his own ancestor, Captain Henry Felder, an important if perhaps little-known South Carolina Patriot leader.

Historical detective

For Weatherhead, portraying Motte has become something of a historical detective project. Since first developing the role in 2013, she has immersed herself in letters, military accounts and historical scholarship, piecing together details of a woman whose own voice survives mostly through the observations of others.

“I try to stay with what I feel was really accurate,” she said.

Motte, born into a prominent Charleston family, emerged as an important Patriot supporter during the war. By 1781, British troops had fortified her inland home, strategically positioned along military supply routes. When Patriot commanders Francis Marion and Henry “Light-Horse Harry” Lee sought to reclaim the position, Motte supported a risky plan to set fire to the roof and force the British surrender.

The story has made Motte one of South Carolina’s better-known Revolutionary War figures, though Weatherhead believes many people still know little about her life beyond that defining moment.

“She was very, very smart,” Weatherhead said. “I believe she largely educated herself.”

At Chautauqua, Weatherhead’s performance will place audiences face-to-face with Motte herself, blending scholarship and theater to illuminate a turbulent chapter of South Carolina history.

“This was war,” Weatherhead said. “There’s a lot that we know, and a lot we’re still trying to understand.”

At Chautauqua, audiences will encounter Motte not as a textbook figure but as a woman confronting an impossible wartime choice.

Following are the free Chautauqua performances in Greenville. Other performances take place in Spartanburg, Abbeville, Liberty, and Brevard. (For a full list of performances, visit HistoryComesAlive.org or call 864-244-1499.)

June 12, 7:30 p.m.: Edgar Allan Poe (Greenville Tech, bring lawn seating)

June 13, 2 p.m.: Mother Jones (Hartness Performing Arts Center on the Christ Church School Campus)

June 13, 7:30 p.m.: Captain Henry Felder (Greenville Tech, bring lawn seating)

June 14, 2 p.m.: Rebecca Motte (Hartness Performing Arts Center on the Christ Church School Campus)

June 14, 7:30 p.m.: Paul Robeson (Greenville Tech, bring lawn seating)

June 15, 10 a.m.: Discussion: Edgar Allan Poe, Senior Action, 3715 E. North St.

June 15, 7:30 p.m.: Mother Jones (Greenville Tech, bring lawn seating)

June 16, 10 a.m.: Discussion: Captain Henry Felder (Senior Action, 3715 E. North St.)

June 16, 11:30 a.m.: Edgar Allan Poe (Centre Stage, 501 River St.)

June 16, 7:30 p.m.: Rebecca Motte (Greenville Tech, bring lawn seating)

June 17, 10 a.m.: Discussion: Mother Jones (Senior Action, 3715 E. North St.)

June 18, 10 a.m.: Discussion: Paul Robeson (Senior Action, 3715 E. North St.)

June 19, 10 a.m.: Discussion: Rebecca Motte (Senior Action, 3715 E. North St.)

June 20, 2 p.m.: Paul Robeson (Hartness Performing Arts Center on the Christ Church School Campus)

June 21, 2 p.m.: Captain Henry Felder (Hartness Performing Arts Center on the Christ Church School Campus)

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Can you guess which one?

The play explores what happens when football collides with brisk comedy, political satire and an all-female cast portraying more than 40 male characters.

Beginning June 5, the Warehouse Theatre will host the world premiere of Kristoffer Diaz’s gleefully offbeat comedy with the full title of “Football Football Football Football (or I Love Lave Dash).”

The fast-moving, roughly 90-minute one-act play not only examines football but gleefully pokes fun at everything surrounding it.

“It’s a straight-up hats-and-mustaches-and-silliness kind of comedy,” Diaz said, speaking by phone from his home in New Jersey.

Diaz, a Tony nominee (“Hell’s Kitchen”) and Pulitzer finalist (“The Elaborate Entrance of Chad Deity”), leaves no laugh unturned as he shows how two top draft picks (one of whom is named Lave Dash) smash their way through offensive lines, the press room, politics, and their own heads.

Theatrical twist

Beneath the humor, Diaz said, lies a deeper fascination with football’s contradictions: the spectacle, tribalism and pageantry surrounding a deeply physical and sometimes-brutal sport.

Part of the inspiration for Diaz came while watching a football game several years ago when former Carolina Panthers linebacker Luke Kuechly suffered a concussion and tearfully left the field.

“It was a reminder of how intense and serious these things are,” Diaz said. “I was interested in all of the circus and pageantry that goes around this game that is sort of a fundamentally violent experiment.”

At the same time, Diaz — a football fan himself and a former long-suffering Buffalo Bills supporter — wanted to approach those questions through humor.

“Sometimes the best way to handle the bizarreness of everyday life is through comedy,” he said.

Developed over several years through workshops in New York and Chicago, the play has taken shape in collaboration with the Warehouse Theatre’s producing artistic director Mike Sablone and stage director Ashley Rodbro.

The production’s boldest theatrical twist may be its casting.

Though the play features more than 40 characters — all male — every role is played by a woman. A six-person female cast will portray coaches, players, commentators and assorted football personalities.

The unconventional choice also allows the play to explore football’s deeply masculine culture from an unexpected angle.

One thing audiences should expect is jokes. Lots of them.

Diaz said humor extends to nearly every aspect of the production — from costumes and sound design to hidden visual gags and theatrical Easter eggs.

“We’re pulling out all the stops,” he said.

Want to go?

What: “Football Football Football Football (or I Love Lave Dash),” a world premiere by Kristoffer Diaz

When: June 5-21

Where: Warehouse Theatre, 37 Augusta St., Greenville

Tickets: $25-$60

Info: 864-235-6948 or warehousetheatre.com

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The theater’s production of Disney’s “Frozen,” running June 5-28, promises snow effects, elaborate costumes, projections and plenty of theatrical magic — all created by local artists and performers, director Max Quinlan said.

“It’ll be a really lovely thing to have some snow effect in the heat of summer,” Quinlan said with a laugh. “We’ll have a snow-filled summer at Greenville Theatre.”

The stage musical, based on the beloved 2013 animated film, spotlights songs that have become Disney classics, including “Do You Want to Build a Snowman?”, “For the First Time in Forever” and the Oscar-winning “Let It Go.”

The story centers on the relationship between sisters who are princesses, Elsa and Anna. Elsa has uncontrollable magical powers to freeze objects and people, forcing her into exile even as she inherits the throne.

Greenville Theatre’s local cast of more than two dozen, meanwhile, guarantees bountiful vocal heft for the musical’s showstopping ensemble numbers.

Quinlan describes the season-closing musical as one of Greenville Theatre’s most technically ambitious productions.

“This show really allows our staff to shine,” Quinlan said. “The set construction, all of our costumes are designed and built in-house. The wow factor of the outfits and the magical world is all done by local artists of the Upstate.”

Stage spectacle

Audiences familiar with Broadway or touring versions of “Frozen” can expect some of the spectacle that made the musical famous. Greenville Theatre uses projections, lighting effects and puppetry to bring beloved characters to life.

Olaf, the cheerful snowman, will appear through a blend of live performance and puppetry, played by familiar Greenville Theatre performer Neel Patrick Edwards. Sven, Kristoff’s loyal reindeer companion, also will be featured in a design Quinlan said has required weeks of preparation.

“The person doing that has been practicing with the mechanics of it for over a month now,” Quinlan said. “It’s going to be really wonderful to see that come to life.”

The production stars Erica Doran as Elsa and Kelsey Crews as Anna, whom Quinlan called “powerhouse” performers capable of handling the show’s demanding vocal roles.

Beyond the visual spectacle, Quinlan said the story’s emotional message remains at the center of the production.

“To me, the show is all about love,” he said. “Even though Elsa has all these powers and magic within her, the true magic comes from accepting love and giving love to others.”

For Quinlan, “Frozen” carries special personal meaning. His 4-year-old daughter, Sofie — “the biggest ‘Frozen’ fan there is,” he joked — inspired his connection to the show. He’s dedicating the production to her, though he hopes she resists the temptation to rush on stage during “Let It Go.”

The musical also marks Quinlan’s final production as Greenville Theatre’s producing artistic director before transitioning to an artistic consultant role.

“It feels very personal to me,” Quinlan said. “I’ve loved my time here, and I’m excited that my final show is all about love.”

Want to go?

What: “Disney’s Frozen: The Musical”

When: June 5-28

Where: Greenville Theatre, 444 College St.

Tickets: $45

Info: 864-233-6238 or greenvilletheatre.org

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“‘Midsummer’ is one of those shows that wants to be outside in the fresh air,” Shaffer said.

Shaffer’s staging of Shakespeare’s comedy runs May 21-June 21 in Falls Park, part of this summer’s Upstate Shakespeare Festival.

As always, admission is free, but donations are welcome.

“A Midsummer Night’s Dream” follows several intertwined groups of lovers, actors, and fairies as they wander through a magical forest near Athens.

Two young couples flee into the woods, where the fairy king and queen, Oberon and Titania, are quarreling, and the mischievous sprite Puck uses a magical flower that causes people to fall in love with the wrong person.

Meanwhile, a group of amateur actors rehearses a play for a royal wedding, leading to comic confusion when one actor is transformed to have the head of a donkey.

By the end, the enchantments are undone, the lovers are properly matched, and the play celebrates reconciliation, imagination, and the unpredictable nature of love.

Summer stress-reliever

Shaffer believes the comedy, among other things, is an ideal summer stress-reliever.

“I love the optimism, mischief and whimsy of the show,” Shaffer said. “It’s magical, it’s funny, it’s silly, a perfect summer show that asks, ‘What if we waved a magic wand and all of your stressors went away?’”

The production is set in the 16th century — “Renaissance-Fair style,” Shaffer said. She stages the comedy in a brisk 90 minutes with no intermission. Fifteen actors play 20 roles. Shaffer has added additional music and dance, including a song-and-dance finale.

“The music and dance add to the magic of the show,” she said.

The two-story set on the Falls Park stage, representing the Athenian court, enhances the nature theme with flowers and greenery.

“A Midsummer Night’s Dream” remains a perennial audience favorite, and Shaffer anticipates a popular run of the show.

“Even if you don’t know anything about Shakespeare, you’ve heard of ‘Midsummer’ and that a man is turned into a donkey, and it’s hilarious,” she said.

Want to go?

What: “A Midsummer Night’s Dream” by William Shakespeare

When: Thurs.-Sun., May 21-June 21, 7 p.m.

Where: Falls Park near downtown Greenville

Tickets: Free admission, though donations are welcome

Info: 864-235-6948 or warehousetheatre.com/shows/upstate-shakespeare-festival

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The May 16-17 performances at the Peace Center also spotlight Aaron Copland’s “Old American Songs” and Samuel Barber’s “Adagio for Strings.”

“It’s a great evening of American songs,” Mills said. “These are tried-and-true American classics.”

The program will feature guest soloists Laquita Mitchell, soprano; Kate Jackman, mezzo-soprano; and DeAndre Simmons, baritone. All three soloists perform widely on the operatic and concert stages.

Chorusmaster William Burgess has assembled a chorus from local churches, Furman University singers, and Chicora Voices, among others. The orchestra, chorus and soloists will offer such selections from “Porgy and Bess” as “Summertime,” “I Got Plenty of o’ Nuttin,” “Bess, You Is My Woman Now,” and “It Ain’t Necessarily So.”

“I love songs. I love the human voice and love to feature it, maybe more than other conductors,” Mills said. “‘Porgy and Bess’ has long been one of my favorite pieces of music.”

Gershwin’s 1935 folk opera, of course, has a close connection to South Carolina. The story is a sympathetic portrait of everyday life in Charleston’s fictional Catfish Row, which South Carolina novelist DuBose Heyward based on the real historical Black community known as Cabbage Row.

Gershwin’s adaptation of Heyward’s 1925 novel “Porgy” sought to create a serious operatic work rooted in African American musical styles. The work has since come to be recognized as one of the most important American operas of the 20th century.

“I can’t think of an American opera that has had a bigger impact around the world,” Mills said. “It was really forward-thinking for its time.”

‘Old American Songs’

Copland’s “Old American Songs,” meanwhile, is a set of traditional tunes that Copland orchestrated with clarity, directness and emotional honesty.

The melodies range from the satirical “The Dodger” to the lyrical “Simple Gifts,” the playful “I Bought Me a Cat” and the jubilant “Ching-A-Ring Chaw.”

The program opens with Barber’s emotionally charged “Adagio for Strings,” a deeply felt 1936 piece often associated with grief and consolation.

“I’ve added this to the program recently because I think there’s a need for healing right now,” Mills said.

The Greenville Symphony will host a discussion, “Cultural Authenticity and Artistic Authority in ‘Porgy and Bess,’” at the Hughes Main Library at 11 a.m. on May 15. Tickets are free; please register at greenvillesymphony.org.

Want to Go?

What: Greenville Symphony: Season Finale: “Porgy and Bess”

When: May 16, 7:30 p.m.; May 17, 3 p.m.

Where: Peace Concert Hall

Tickets: $24.20-$103.40

Info: 864-467-3000 or peacecenter.org

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It’s the best-known line from Aaron Sorkin’s “A Few Good Men,” returning to Greenville’s Centre Stage, May 7-24.

The effort to uncover the “the truth” lies at the heart of Sorkin’s intense courtroom drama.

Two Marines are charged after carrying out an unofficial disciplinary action known as a “Code Red,” and a young Navy lawyer, Lt. Daniel Kaffee, is assigned to defend them.

As the trial unfolds, Kaffee (played by John Michael Cox) uncovers a culture of obedience and intimidation that reaches into the chain of command, especially the powerful Col. Nathan Jessup (David Atkinson). The play explores honor, duty, truth, and the moral cost of following orders without question.

“The play presents a clash of authority versus truth,” said director Thom Babbes. “What do you do as a Marine when you’re given an order that is not moral, but you can’t just ignore an order?

“It’s really a play about moral courage,” he added. “True justice demands moral courage, not blind obedience. That is the story I’m telling.”

Time of stark contrasts

In the play, vital evidence emerges thanks to the work of Navy attorney Lt. Cmdr. Joanne Galloway, played in this production by Fawn Allen.

Kaffee is reluctant to go after a high-ranking official like Col. Jessup but is persuaded by Galloway.

The play is set in the 1980s, a time of stark contrasts, Babbes said.

“This was during the Cold War, when America had the idea of ‘peace through strength.’ It explores a world where order and discipline and obedience are not just valued but are required,” Babbes said. “And yet it was a fun decade of excess, and the music was happy.”

Babbes is incorporating 1980s music into the play as naturally as possible, featuring such songs as “Born in the USA,” “All She Wants to Do is Dance,” “Take on Me” and “Welcome to the Jungle.”

Before the cast began rehearsals, Babbes had his actors go through a Marine bootcamp.

“I wanted them to get to know the world of the play,” Babbes said.

Centre Stage last staged “A Few Good Men” in 2014.

Theater-goers should note: The play contains some strong language and is rated PG-13.

Want to go?

What: “A Few Good Men” by Aaron Sorkin

When: May 7-24

Where: Centre Stage, 501 River St., Greenville

Tickets: $21.50-$36.50

Info: 864-233-6733 or centrestage.org

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The centerpieces of the concert are two works that speak of peace, hope and love: Haydn’s “Little Organ Mass” (1775) and contemporary American composer Jake Runestad’s “The Hope of Loving” (2015).

“Both pieces try to promote the idea of unity,” said Anthony Bernarducci, the Chorale’s artistic director and conductor. “The program shows how works composed many years apart can have similar messages.”

The “Little Organ Mass” or “Missa Brevis” is one of Haydn’s most beloved shorter sacred works, a piece of classical elegance.

It earned its name from the graceful and prominent organ solo in the Benedictus, one of the better-known movements of the piece. It features a lyrical dialogue between soprano and organ, performed in this concert by soprano Lisa Barksdale and organist Charles Tompkins.

A string quintet will also accompany portions of the program.

“The Hope of Loving,” meanwhile, is a six-movement piece featuring lush contemporary harmonies and set to a text from Daniel Ladinsky’s “Love Poems from God,” translating the works of various mystical poets.

In addition to these major works, the concert will feature English composer Hubert Parry’s “I Was Glad” as well as Bernarducci’s own piece “When I Rise Up,” composed during the COVID lockdown. The program features some traditional numbers such as “Amazing Grace” and “Bound for the Promised Land.”

Bernarducci said the evening’s texts were chosen for their spirit of hope and renewal.

Want to go?

What: Greenville Chorale: “A Pair of Mystical Masterworks”

When: May 3, 3 p.m.

Where: First Baptist Greenville Sanctuary, 847 Cleveland St.

Tickets: $40 adults; $20 students

Info: 864-235-1101 or greenvillechorale.org

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Quinlan will begin the new role in early July following the conclusion of Greenville Theatre’s 100th anniversary season. He will continue to serve Greenville Theatre as an artistic consultant while working remotely from Greenville.

“It was a challenging decision, but this company aligns with my personal mission, which has always been to bring Broadway-caliber production directly to the people,” Quinlan said. “I’ve been fortunate to do that at Greenville Theatre, and I’m looking forward to the opportunity to do that across America.”

NETworks Productions manages national tours of major musicals and plays. Quinlan’s first assignment will be producing the 20th anniversary national tour of “Jersey Boys,” the Tony Award-winning hit musical which Quinlan staged last year at Greenville Theatre.

Quinlan said he had not been seeking a new position but NETworks sought him out. He will oversee all aspects of several national touring musicals, from casting to recruiting the creative team and supervising rehearsals.

His departure marks a major leadership transition for Greenville Theatre, the oldest and largest locally produced nonprofit theater in the Upstate.

During his tenure, the theater mounted ambitious productions including “A Chorus Line,” “Fiddler on the Roof,” “Sister Act” and “Monty Python’s Spamalot,” among others. Quinlan often directed the shows.

He also oversaw renovations to the stage and orchestra pit, helped organize the theater’s 100th-anniversary gala featuring Broadway star Norm Lewis, and launched the “$100 for 100 Years” fundraising campaign to raise $1 million for facility improvements.

The board of directors will begin a nationwide search for Quinlan’s successor. The current producing artistic director role will be divided into two positions: executive director and artistic director.

Current general manager Aimée Quattlebaum will become interim managing director in July.

‘Part of a family’

Carl Sykes, chairman of the theater’s board, praised Quinlan for both his artistic and financial leadership of the theater.

“He has greatly elevated Greenville Theatre and the Greenville arts community, and he did it with kindness,” Sykes said.

“He has made new people and longtime Greenville actors feel welcome and part of a family. People love him.”

Kristofer Parker, a frequent Greenville Theatre actor and the theater manager for the Mauldin Cultural Center, said Quinlan makes all stakeholders feel valued.

“He cares so much about the experiences of everyone — the audience, the actors, and production team members, and it really shows on the stage,” Parker said.

As an artistic consultant, Quinlan will be readily available to the theater as an adviser and may direct a show in the future.

“Luckily, I’m able to stay in Greenville because much of the job is done remotely,” Quinlan said. “My wife and I love being members of this community.”

Quinlan’s wife, Broadway actress Siri Howard, has a long list of credits and has appeared in Greenville Theatre productions and as a soloist with the Greenville Symphony.

“My goal was always to support the vision of the theater to uplift the community and shine a spotlight on the incredibly talented artists we have in this area,” Quinlan said. “Being a part of this organization has been one of the great honors of my life.”

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The 14-member company, a champion of contemporary dance since 1977, will spotlight two works by Fosse alongside pieces by contemporary choreographers Matthew Rushing and Aszure Barton.

The Fosse segment features “Sweet Gwen Suite,” a collection of dances he created with his then-wife Gwen Verdon in the 1960s, set to music by Johnny Mandel and Herb Alpert & the Tijuana Brass.

It displays Fosse’s characteristic style — precise, rhythmic and slyly theatrical.

“Fosse is one of the great choreographers. It’s an honor to be presenting his work,” said Jonathan E. Alsberry, the company’s senior rehearsal director and director of summer intensives.

Rave reviews

The dance company is bringing a program that recently won rave reviews at the Joyce Theater in New York City. Brian Seibert, dance critic with The New York Times, called Hubbard Street, the “best-in-class purveyor of trends in contemporary dance.”

Also by Fosse is “Percussion IV,” a 1978 virtuosic and playful solo (featuring Shota Miyoshi) set to all-percussion score.

Closing the program is “Blue Soup,” by Aszure Barton, a bold, full-company work that blends humor, surreal imagery, and emotional depth. Known for her inventive and unpredictable style, Barton crafts a series of striking stage pictures — at times whimsical, at times unsettling — that ultimately cohere into a meditation on individuality and transformation.

The Peace Center program highlights Hubbard Street’s hallmark versatility, moving fluidly between tradition and experimentation. Hubbard Street performs regularly in Chicago and New York City while also frequently touring, with more than 50 performances worldwide every year.

Alsberry, who has been with the company for nine years, said Hubbard Street is a tight-knit group that extends its good feelings to dance fans.

“As an organization, it’s all about community. We operate as a big family, and we look for opportunities to expand that to our audience,” Alsberry said.

Echoing the company’s mission statement, he added, “It’s all about awakening the human spirit through contemporary dance.”

Want to go?

What: Hubbard Street Dance Chicago

When: April 25, 8 p.m.

Where: Peace Concert Hall, 300 S. Main St., Greenville

Tickets: $49.50-$71.50

Info: 864-467-3000 or peacecenter.org

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Her name was Dicey Langston. At age 15, Dicey overheard plans by Loyalist troops known as the “Bloody Scouts” to raid a Patriot camp where her brothers and others were stationed. Traveling alone on horseback and foot through woods and across the flooded Tyger River in 1781, she warned soldiers in time to avert disaster.

The premiere of “Dicey Langston: The South Carolina Girl Who Defied an Army,” written for chamber orchestra and narrator, takes place in the Peace Center’s Gunter Theatre, with music director Lee Mills leading the two performances, April 25-26.

“It’s an incredible story about a young woman in the Revolutionary War who did something so heroic and saved many lives,” said Jessica Satava, executive director of the Greenville Symphony.

In a unique collaboration, Upstate teenagers from Travelers Rest, where Dicey lived, contributed to the composition of the piece in a workshop held by Kay, the general director and composer-in-residence with the Spartanburg Philharmonic.

“It felt right to include our community in the creative process because this is a story so connected to the Upstate,” Satava said.

At the workshop, Kay read the script to the teens and elicited their ideas about how the music should sound. Happy? Sad? Should it be fast? Slow? And how should water sound in music?

“We really wanted them to contribute the music ideas,” Kay said. “We were composing it on the fly.”

‘A great inspiration’

Sage Criss, 12, and Isabel LaRoy, 13, participated in the workshop, and both came away in awe of Dicey’s courage.

“I think she was amazing for all she persevered through,” Sage said. “She’s a great inspiration.”

“She shows how incredible some of these stories were,” Isabel said. “I’m really excited to hear what we helped to build.”

The script for the “Dicey Langston” was written by Broadway director and writer Mark Waldrop, who previously penned a new version of “Peter and the Wolf” and an original story, “The Adventures of RaeLynn and Luke,” both for the Greenville Symphony.

The upcoming program also includes the chamber-orchestra version of Aaron Copland’s much-loved “Appalachian Spring.” Patrons should note that both concerts begin at 3 p.m.

For “Dicey Langston,” the Greenville Symphony partnered with the Upcountry History Museum and SC250, an agency commissioned by state lawmakers to commemorate the 250th anniversary of the American Revolution in South Carolina.

The historical Dicey continued to support the Patriot cause throughout the war. After independence was secured, she married Thomas Springfield and spent much of her adult life in Travelers Rest raising 22 children.

Want to go?

What: Greenville Symphony world premiere: “Dicey Langston: The South Carolina Girl Who Defied an Army.”

When: April 25-26, 3 p.m.

Where: Gunter Theatre, 300 S. Main St., Greenville

Tickets: $44-$64.90

Info: 864-467-3000 or peacecenter.org

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After nearly four decades shaping one of the world’s premier jazz ensembles, Wynton Marsalis is taking a final bow as artistic director of the Jazz at Lincoln Center Orchestra, closing a chapter that has helped redefine jazz’s place in American cultural life.

That farewell tour stops at the Peace Center.

The band’s programs revisit cornerstone jazz repertoire such as Duke Ellington, Count Basie and Thelonious Monk, composers whose music Marsalis has long treated as foundational texts.

Marsalis, a trumpet player and composer who co-founded Jazz at Lincoln Center in 1987, has guided the orchestra from an ambitious educational initiative into a full-time touring ensemble with an international reputation.

Along the way, he has championed jazz as a living art form rooted in swing, blues and collective improvisation, while also commissioning new works and spotlighting lesser-known composers.

His tenure has been marked by an unusual balance – a reverence for tradition paired with a commitment to contemporary voices.

Electrifying ensemble

“When we established Jazz at Lincoln Center in 1987, our goal was to build an enduring jazz institution that would both entertain and educate by exposing multi-generational audiences to an often-overlooked aspect of American culture,” Marsalis said in a statement.

“I am proud of the tremendous progress we’ve made,” he said. “It is time for new leadership to take the institution to even higher ground. We are rich in emerging, extremely talented, capable, and inspired musicians and advocates. I’m very confident about the future.”

Under Marsalis’ leadership, the ensemble became known for its electrifying ensemble sound and historically informed programming. Concerts often placed jazz within a broader cultural narrative, linking the music to American history, democratic ideals and community life.

He added that the goal is to “nurture what we’ve already built” so the organization and the art form “will continue to flourish.”

Want to go?

What: Jazz at Lincoln Center Orchestra with Wynton Marsalis

When: April 20, 7:30 p.m.

Where: Peace Concert Hall, 300 S. Main St., Greenville

Tickets: $55 to $88

Info: 864-467-3000 or peacecenter.org

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Fittingly, the heartwarming Southern classic opens April 17 for a three-week run at Greenville Theatre.

“‘Steel Magnolias’ was selected as the classic play audiences wanted us to bring back,” said Max Quinlan, producing artistic director of Greenville Theatre.

“It’s exciting to be able to honor our 100th anniversary with the shows that are most requested,” Quinlan said.

Filled with humor, heart and resilience, “Steel Magnolias” invites audiences into a Louisiana beauty salon where friendship is as strong as the hairspray.

Written by Robert Harling and first produced in 1987, the play centers on a close-knit group of women who gather regularly at Truvy’s salon.

The play is something of a tribute to Southern women, the steel magnolias of the title – delicate and beautiful on the outside, yet incredibly strong and resilient beneath the surface.

Strength in friendship

What begins as lively small talk soon deepens into a portrait of friendship, loyalty and the ways people support one another through life’s joys and heartbreaks. Harling based the story on his own family experiences, giving the play an emotional authenticity that has helped sustain its popularity for decades.

The action unfolds over several seasons, as the women share gossip, celebrate milestones and confront unexpected challenges. Quick-witted banter fuels much of the comedy, with characters trading affectionate barbs and colorful observations about small-town life.

But beneath the humor lies a moving exploration of love, grief and endurance, as the group rallies around one of their own in times of crisis.

At its core, the story celebrates the strength found in community.

Warm, funny and deeply humane, “Steel Magnolias” remains a crowd-pleasing favorite — a reminder that humor and heartbreak often sit side by side, and that friendship can carry people through even life’s most difficult moments.

Want to go?

What: “Steel Magnolias,” by Robert Harling

When: April 17-May 3

Where: Greenville Theatre, 444 College St.

Tickets and info: $35; 864-233-6238 or greenvilletheatre.org

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Several productions, meanwhile, will journey to the Peace Center for the first time, such as the critically acclaimed “Operation Mincemeat,” “Buena Vista Social Club” and “Harry Potter and the Cursed Child.”

“The 2026-2027 Peace Broadway lineup gives subscribers nine Broadway big nights out,” said Heather Chamberlain, the Peace Center’s vice president of marketing.

“The diversity of shows – ranging from futuristic ingenuity to feel-good nostalgia – makes it an incredible year to subscribe to this wonderfully big and bold season,” she said.

The Peace Center punches above its weight on Broadway shows, often landing first national tours of in-demand shows — putting Greenville on a par with much larger markets such as Los Angeles, Chicago, Boston and Atlanta.

“Broadway is evolving, and this season reflects its fearless new energy,” said Peace Center president and CEO Megan Riegel. “We’ve brought together the year’s most daring new hits and reimagined classics to create a season that feels both fresh and timeless.”

All shows run for one week, with eight performances, except for the ever-popular “Wicked,” which returns for the fourth time to the Peace Center for a three-week run.

“‘Wicked’ nearly sold out its three previous Peace Center engagements in 2010, 2015, and 2023,” Chamberlain said. “As the brand’s global popularity continues to grow, all signs point to this being an extremely hot ticket yet again.”

Following is the 2026-27 Peace Center Broadway Series season:

“Maybe Happy Ending” — Sept. 29-Oct. 4

• “Maybe Happy Ending” tells the story of a chance encounter between two human-like helper-bots, Oliver and Claire, who develop a connection that challenges what they believe is possible for themselves, exploring love and mortality.
• The musical won six Tony Awards, including Best Musical.
• The New York Sun said: “The most original and enchanting new musical to arrive on Broadway in years. It’s nothing short of breathtaking!”

“Dirty Dancing: The Musical” — Nov. 10-15

• Based on the popular 1987 film, “Dirty Dancing” tells the story of Frances “Baby” Houseman, a young woman who falls in love with dance instructor Johnny Castle at a resort in 1963.
• The musical features live music from the film, including the songs “Hungry Eyes,” “She’s Like the Wind” and “(I’ve Had) The Time of My Life.”
• “’Dirty Dancing didn’t just entertain — it imprinted itself onto the emotional memory of an entire generation,” said Vanity Fair

“Wicked” — April 21-May 9, 2027

• In the Land of Oz, two young women meet and become best friends — until the world decides to call one good and the other wicked.
• With a score that includes the hits “Defying Gravity,” “Popular” and “For Good,” “Wicked” has been seen by more than 72 million people worldwide.
• “A magical Broadway musical with brains, heart, and courage,” said Time Magazine.

“Operation Mincemeat: A New Musical” — May 18-23, 2027

• The best-reviewed show in West End history with 88 five-star reviews, “Operation Mincemeat” is the fast-paced, hilarious and true story of a secret mission that helped the Allies win World War II.
• The musical won the 2024 Olivier Award for Best New Musical.
• Entertainment Weekly named it one of the 10 Best Broadway shows of 2025, calling it “a laugh-out-loud delight, with endless charm. A breath of fresh air offering complex storytelling, masterful musical sequences, thoughtful themes, and an absolutely bonkers plot. There’s nothing else like it on Broadway.”

“Disney’s Beauty & The Beast” — June 23-27, 2027

• This new staging represents Disney’s first North American touring production of this beloved musical in over 25 years.
• The original Tony Award-winning artistic team is creating new sets and dazzling costumes.
• The memorable, award-winning score features classics such as “Be Our Guest” and “Beauty and the Beast.”

“Heathers: The Musical” — July 6-11, 2027

• Based on the 1988 cult film, “Heathers” is a dark rock musical about a teenage misfit who joins the ruthless and popular clique “the Heathers” to survive Westerberg High.
• The New York Times called “Heathers” an “outrageous, irrepressible musical.” The show tours the nation following popular runs in New York and London.

“Harry Potter and the Cursed Child” — July 21-25, 2027

• When Harry Potter’s headstrong son Albus befriends the son of his fiercest rival, Draco Malfoy, it sparks a new journey for them all — with the power to change the past and future forever.
• The Broadway play is based on characters made popular by J.K. Rowling. The Tony Award-winning play has been praised especially for its array of dazzling visual effects.

“Just in Time” — Aug. 3-8, 2027

• The jukebox musical brings to life the story of Bobby Darin, the legendary singer whose short but remarkable journey took him from teen idol to global sensation.
• The show includes Darin’s biggest hits, including “Beyond the Sea,” “Mack the Knife,” “Splish Splash,” and “Dream Lover.”

“Buena Vista Social Club” — Aug. 24-29, 2027

• The Tony and Grammy Award-winning musical takes audiences on a journey to the heart of Cuba through music and memory. A world-class company brings the story of the iconic album to thrilling life in this tale of big dreams and music that needs no translation.
• “Exhilarating! A jaw-dropping, soul-stirring must-see,” said The Washington Post.

New and renewing subscribers can take advantage of early-bird pricing from April 9-30.

Beginning at 9:30 a.m. on April 9, subscriptions may be purchased online at peacecenter.org or by calling the Box Office at 864-467-3000, or by visiting the Box Office located in the Peace Concert Hall lobby. Box Office hours are 9:30 a.m.-5:30 p.m., Monday-Friday. Single tickets go on sale later this year.

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