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‘Three Little Birds’ is another Adventure Theater production that makes one feel honored to be a member of the audience.​



A Grandnight For Singing Poster
A Grandnight For Singing 2
A Grandnight For Singing 1
Kiss Me Kate 2
Kiss Me Kate 1




Director Michael J. Bobbitt continues to deliver high-quality entertainment for the entire family.  Mr. Bobbitt has a knack for bringing together the finest of performers and production teams, and Olney’s “Elf The Musical” is no exception.


 "Elf’s largely ensemble cast give some of the most enjoyable, high-energy and top-caliber performances I have seen in the area.  And the performers in this movie-turned-stage musical don’t just sing and dance (but boy, can they)—under the skilled direction of Michael Bobbitt and choreographer Tara Vallee, they juggle, jump rope, roller skate and wow the audience with acrobatic feats. The result is a holiday spectacle nothing short of spectacular."


"...a special nod to directors Bobbitt and Blackledge for assembling a stand-out group from start to finish."


What makes Constellation's show soar is its opulence of talent. Up close in small at Source, performed with artistry and affinity, it just couldn't feel any better.

The Constellation Theater Company captivates with their arresting, bittersweet production of Aida guaranteed to give you all the feels.


“...Yet Bobbitt keeps things fresh with visual jokes and speedy transitions, and Mary’s motto – “Anything can happen, if you let it” – gets fully articulated.”


This world-premiere engagement -- conceived, staged and choreographed by Michael J. Bobbitt -- is an anthology-formatted revue of 28 songs written or co-written by Schwartz, composer of the stage musicals "Wicked," "Pippin" and "Godspell" and lyricist for animated movie musicals such as "Pocahontas." The show's bland title belies the exuberance of Bobbitt and musical arranger John L. Cornelius II in mixing the styles of the music for their go-getter of an ensemble.



"Michael Bobbitt’s choreography has never been so gorgeously integrated into the story telling, and the dancer-singer-actors are terrific not only in their technical prowess but in their delivery of distinct cultural styles of expression. And that’s just the first scene where three numbers melt seamlessly one into another."



The Baltimore Symphony Orchestra had a tiger by the tail Saturday; its performance of Gershwin’s “Porgy and Bess” before a packed Strathmore audience received ...




"Director-choreographer Michael Bobbitt plays to performers’ strengths. Tommy Foster tap-dances through “Conjunction Junction;” Matt Carlson, a kind of informal emcee, snaps through the rapid-fire pronoun number “Rufus Xavier Sarsaparilla;” Tracie Frank and Dominque Atwater contribute warmth and innocence respectively, while Brianna Susan Smith’s smoky alto underpins weightier moments. The three women blend well for a song about suffragettes."


"Director Michael Bobbitt finds the truth of the story among the comedic plot twists and this is what makes for a successful production. Numbers like “We Open in Venice,” are played straight through with increasing energy as they roll through the verses. This approach delivers amazing entertainment and sincerity behind what’s happening in the play-within-a-play. Bobbitt mines the production for its emotions and intertwines them with the moments of lively action, sprightly comedy, and simmering romance. His use of the entire theatrical space, and not just the stage, creates an all-inclusive atmosphere and makes the moments where the characters break through the fourth wall feel natural. Bobbitt’s decision to place the orchestra on stage is a brilliant one. Not only does it create the effect that they are in a sense part of the play and the meta-play but it gives the actors an opportunity to interact with them, furthering the inclusive atmosphere of the show."


“The Crapshooters’ Dance” is a popcorn riot of leaping, twirling bodies, an adrenalized blend of raw athleticism and giddy fluidity. Even better is “Havana,” when Sky sweeps Sarah off to Cuba for a wild night that flips her romantic switch.


"For a show in which the eleven o’clock song comes on at about seven thirty, Rocky Horror is a surprisingly disciplined exercise, and never more so than in Michael Bobbitt’s powerful choreography. The stage at Matheny – more than adequate for most non-musicals – is a real space challenge for a production the scope of Rocky Horror, which has nineteen characters as well as a six-person band. Although Giorgos Tsappas’ two-level set helps, it is not a complete answer, as virtually all the choreography takes place at stage level. No, Bobbitt has somehow created the illusion that his army of acrobatic dancers are flying through space, when in fact they are leaping over each other. Bobbitt is a significant player in the world of children’s theater and notable as a director and adapter, but among all his virtues, it is choreography that he does best, and it is time to talk about his work in the same breath we use to talk about Tsikurishvilli and Hines."




"So why not just read the book or see the movie? One word: realism. Kids lucky enough to have grownups take them to Adventure Theatre/MTC will get to see crazy chattering monkeys up close and personal, a ginormous snake pop out of a closet, and (spoiler alert) really-truly rain from a monsoon, windy wind and bubbles of snow falling gently on their heads. Nope, you just don’t get that kind of in-your-face, cover-your-head-with-your-program stuff from a movie, folks. It’s immersive theatre with a great sense of humor attached."

"With a jammin’ score woven from the songs of Bob Marley and buoyant design to match, the show flaunts such jubilant, tropical-candy tones that the outside world looks drab by comparison."


"Today is no ordinary day for Garfield, the lasagna loving tabby cat. After all, it is his birthday! Garfield is looking forward to celebrating his big day by eating a large plate of lasagna, taking a long nap, and watching endless hours of his favorite television shows. When poor Garfield realizes that his friends aren't acknowledging his special day, he schemes to go on an adventure with his loyal stuffed bear, Pookie, at his side. Adventure Theatre MTC's production of Garfield: The Musical with Cattitude, book by Jim Davis and Michael J. Bobbitt with music and lyrics by John L. Cornelius II, brings Jim Davis' Garfield from the comic strip to the stage."

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