Perry Tannenbaum

The cast of ‘Million Dollar Quartet’ at the Cain Center. (Photo by Perry Tannenbaum) By some cosmic coincidence, the publication of Rolling Stone’s special edition listing of the “500 Greatest Songs of All Time” in late 2004 anticipated the great flowering of jukebox musicals on Broadway almost immediately afterwards, with hardly a hiccup since.

Whenever you see a Charlotte Ballet performance at Knight Theater or the mighty Belk, you’re going to see talent, grace, athleticism, imagination, and dancers in abundance. At the McBride-Bonnefoux Center for Dance, however, only the first three of those wondrous plenitudes are guaranteed. Formality is loosened. Scale is often reduced. And over the past few years, Charlotte Ballet’s season has concluded with evenings of homegrown choreographies by members of the troupe, many of them new to the art.

Davidson Community Players’ run of “Evita’ is taking place at Davidson College’s Duke Performance Hall. (Photo by Sydney Schertz) As women and as films, Evita and Melania will never be viewed as two of a kind. Yet in recent years, as Ms. Trump’s husband has become more ceremonial, militaristic and authoritarian, a mild kinship and a certain sisterhood have emerged between the two first ladies.