By Liz Eichler
American Legacy Theatre continues its commitment to developing new work with Bridge City by Kennen Butler, now in its World Premiere through April 26 at Hughes STEM Auditorium. Having experienced all three stages of its public feedback process, it’s been especially rewarding to watch this musical evolve into a fully realized and production-ready piece.
This exciting new musical amplifies the voices of communities displaced by development—new buildings, roads, or stadiums. At its center is Jerica, but Bridge City wisely expands its focus beyond a single protagonist. We meet her full ecosystem: family, friends, coworkers, and the guiding principles that shape her success—most notably the enduring love of her grandmother, whose final gift makes Jerica’s college journey possible.
The Story
Act One opens with “Welcome In” welcoming the audience. Then the high-energy “Boom Pop,” where the community celebrates its signature music festival—all except Jerica, who remains home caring for her grandmother. After her grandmother’s passing, Jerica discovers she’s been left enough money to pursue college and her dreams. One of the musical’s strongest numbers, “Greater,” clarifies both her ambition and her uncertainty. As she moves into higher education and the professional world, the show explores a central theme: the necessity of code-switching—being one version of yourself at home or with friends, and another to succeed beyond it.
Jerica’s talent earns her a position at a larger agency, where she forms new friendships while navigating increasingly complex office dynamics. Her boss, Val (Kayla Vogel) demands excellence—and Jerica delivers—until she’s tasked with reframing the removal of a neighborhood for corporate development. Her neighborhood.
Act Two opens with “Welcome Back/All for What,” underscored by the line, “there’s a pot that’s boiling here.” Tensions are rising as Jerica connects with Bookie, her childhood “play cousin,” who begins organizing his union at Esterline Manufacturing. Their relationship is compelling, but as the show makes clear, this is not a love story—it’s a story about community. A standout moment is Bookie’s TV interview, balancing humor with the way PR often works. Meanwhile, the Senator—who shares Jerica’s roots—offers the sobering insight: “the dance we do is hard.” Jerica’s internal conflict culminates in “Monolith,” a powerful realization of who she has become.
A Strong Cast
Across its development process, multiple performers have stepped into these roles. In this premiere Ariel Underwood brings both vocal strength and an easy warmth to Jerica, making her someone we want to see succeed. Underwood is a Cincinnati Native, SCPA alum, and even has been seen on The Voice, American Idol and NBC’s Clash of the Choirs (on the winning Team Cincinnati). Mary Patton takes on multiple roles—including Grandma Lynn and the Senator—with gravitas and clarity. A recent transplant from Cleveland, Patton’s credits include Carnegie Hall, tours of Sister Act, Dream Girls among others.
Nikko Griffin’s Bookie grounds the story with authenticity and earns all of his laughs, while Kammeron Frost also brings humor and protectiveness to Deja, Jerica’s other “play cousin.” Ariana Hodes’ quirky Mindi provides an effective contrast, navigating her own version of code-switching. Kayla Hodges as Val is no nonsense and focused.
What’s most impressive about this world premiere is its growth. Where earlier iterations suggested structure and possibility, this version feels complete—polished, purposeful, and ready for life beyond this production. The presence of engaged middle school students in the audience, responding with enthusiasm, speaks volumes about its accessibility and impact.
Production Elements
The production’s intentionally minimal staging—using the “two boards and a passion” philosophy—keeps the focus on story and music. The score by Kennen Butler–who had his own Grandmother Lynn– blends rap, hip-hop, jazz, blues, and traditional musical theatre, creating a vibrant and varied sound. Ensemble numbers bring the joy. Others, particularly those featuring the “play cousins,” add energy and texture while deepening the show’s sense of community. Plus he gives the characters a chance to reflect in their solos. Music Director Stephen Felton produces some great harmonies and choreographer Julius “Eclypse” Jenkins with assistant Nyjul Burd makes sure everyone shows their joy.
Director Matthew David Gellin, assisted by Anita Anderson, uses all the levels–floor, stage, and balcony–in the beautiful but cavernous Hughes Stem Auditorium. It is a great location for the show, as almost every neighborhood in Cincinnati has experienced the tension of development. While the space is a challenge, sound designer Jake Tillman ensures the words and music are balanced.
ALT’s Bridge City is a Celebration
Bridge City is not just a musical, it’s a joyful call to public engagement. American Legacy Theater emphasizes audience activation, encouraging patrons to understand local governance and participate in civic life. The message is clear: voices matter, and communities deserve to be heard—just like Jerica’s.
With strong story, songs and performances, Cincinnatians and theatre lovers can celebrate Bridge City and ALT’s contribution to area arts and communities.
Tickets
ALT’s Bridge City runs now through April 26, 2026. Purchase tickets here. Pay-what-you-can tickets are available, as ALT shows its commitment to accessibility for the arts.
