Arts and Theatre
Browse through upcoming arts and theater events in Hendersonville, NC, including musicals, plays, operas, and more.
Mixtape Vol. 2: The Music of the 60’s, 70’s and 80’s – February 20 – 23
It’s February, which means ‘the boys are back…again! From the same outstanding musical talent who brought you the Music of Queen, the Eagles, and the Beatles, Mixtape! Vol 2: The Best of the 60’s, 70’s, and 80’s is back by oh-so popular demand! Shake off the winter blues with a red-hot rockin’ playlist featuring all new hits you know and love. You ‘dig it?’ ‘Let’s boogie!’ ‘Like, totally!’
Event Times: 2:00 PM & 7:30 PM
Ticket Prices: $48 / $58 / $68
Child Pricing Available (17 & under)
Expect the Unexpected.
Rouge features daring aerial acts, thrilling acrobatics and poetic dance that cannot be missed. The Madame of Ceremonies, Rachel Houdek, is your guide for a mesmerizing good time that holds audiences spellbound. Rouge is the perfect event for a date night or night out with friends.
The Play That Goes Wrong at the Asheville Community Theater Fridays at 7:30 PM, Saturdays & Sundays at 2:30 PM.
Welcome to opening night of the Cornley University Drama Society’s newest production, The Murder at Haversham Manor, where things are quickly going from bad to utterly disastrous. This 1920s whodunit has everything you never wanted in a show—an unconscious leading lady, a corpse that can’t play dead, and actors who trip over everything (including their lines). Nevertheless, the accident-prone thespians battle against all odds to make it through to their final curtain call, with hilarious consequences! Part Monty Python, part Sherlock Holmes, this Olivier Award–winning comedy is a global phenomenon that’s guaranteed to leave you aching with laughter!
A talkback with the cast & crew of The Play That Goes Wrong will be held following the performance on Sunday, February 9. Run Time: Two Hours (Approx.) There will be a fifteen-minute intermission for this show. Content Awareness: This production depicts some violence in a comedic manner and mild sexual innuendos.
Performing on February 6, 8, 14, 16, 20 & 22:
- Drew Dyer, Jade Fernandez, Mash Hes, Lucien Hinton, Jason Phillips, River Spade, Allie Marée Starling & Matt Wade
Performing on February 7, 9, 13, 15, 21 & 23:
- Gabby Bailey, Emily Dake, Holly Oakley, Paula O’Brien, Chandler Peveto, Jon Robinson, Jackson Wilhelmi & Henry Williamson
Arboretum visitors will witness some of the most surprising animal behavior in the new National Geographic exhibition, “The Greatest Wildlife Photographs.” The very best wildlife pictures from the pages of National Geographic magazine have been chosen to be displayed in this exhibition. Curated by renowned nature picture editor, Kathy Moran, this exhibition is a celebratory look at wildlife with images taken by National Geographic’s most iconic photographers such as, Michael “Nick” Nichols, Steve Winter, Paul Nicklen, Beverly Joubert, David Doubilet and more. Showcasing the evolution of photography, the images convey how innovations such as camera traps, remote imaging, and underwater technology have granted photographers access to wildlife in their natural habitat.
For 115 years, National Geographic has pioneered and championed the art of wildlife photography, and captivated generations of engaged audiences with a steady stream of extraordinary images of animals in nature. From the very first such image to appear – a reindeer in 1903 – National Geographic Society’s publications have broken new ground and push the bar higher again and again, establishing an unmatched legacy of artistic, scientific, and technical achievement. These are the Greatest Wildlife Photographs. This is included with admission to NC Arboretum.
Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.
Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”
Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.
RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.
As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”
“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”
See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.
Ceramic artists throughout history have become masters of all four elements—creating clay from a mixture of earth and water to shape their work, drying it in air, and hardening it in fire. Throughout this process, the artist decides which aspects of the work will be tightly controlled, and when the elements can step in to leave nature’s mark. This exhibition traces the historical, stylistic, and conceptual origins of work that either embraces or refuses the element of chance in ceramics, looking at modern and contemporary work made in Western North Carolina.
Journey into Sherwood Forest and the days of kings and crusades as this original adaptation of the classic story brings Robin Hood, his Merry Men, and all the beloved characters to life in a dynamic and thrilling way! Join Robin and all of his band as they face impossible choices and unspeakable dangers in their quest for justice in their beloved England!
Since Riverdance first emerged onto the world stage, its fusion of Irish and international dance and music has captured the hearts of millions worldwide. The Grammy award-winning music and the infectious energy of its mesmerising choreography and breathtaking performances has left audiences in awe and established Riverdance as a global cultural sensation.
To celebrate this incredible 30th year milestone, Riverdance will embark on a special anniversary tour, bringing its magic to audiences around the world. This spectacular production rejuvenates the much-loved original show with new innovative choreography and costumes and state of the art lighting, projection and motion graphics. And for the first time Riverdance welcomes “The New Generation” of performers, all of whom were not born when show began 30 years ago.
Audiences will enjoy a unique and memorable performance which blends the traditional and the contemporary, showcasing the skill and passion of the world-class of dancers, musicians and singers in the Riverdance ensemble.
Composed by Bill Whelan. Produced by Moya Doherty. Directed by John McColgan.
Mixtape Vol. 2: The Music of the 60’s, 70’s and 80’s – February 20 – 23
It’s February, which means ‘the boys are back…again! From the same outstanding musical talent who brought you the Music of Queen, the Eagles, and the Beatles, Mixtape! Vol 2: The Best of the 60’s, 70’s, and 80’s is back by oh-so popular demand! Shake off the winter blues with a red-hot rockin’ playlist featuring all new hits you know and love. You ‘dig it?’ ‘Let’s boogie!’ ‘Like, totally!’
Event Times: 2:00 PM & 7:30 PM
Ticket Prices: $48 / $58 / $68
Child Pricing Available (17 & under)
The Play That Goes Wrong at the Asheville Community Theater Fridays at 7:30 PM, Saturdays & Sundays at 2:30 PM.
Welcome to opening night of the Cornley University Drama Society’s newest production, The Murder at Haversham Manor, where things are quickly going from bad to utterly disastrous. This 1920s whodunit has everything you never wanted in a show—an unconscious leading lady, a corpse that can’t play dead, and actors who trip over everything (including their lines). Nevertheless, the accident-prone thespians battle against all odds to make it through to their final curtain call, with hilarious consequences! Part Monty Python, part Sherlock Holmes, this Olivier Award–winning comedy is a global phenomenon that’s guaranteed to leave you aching with laughter!
A talkback with the cast & crew of The Play That Goes Wrong will be held following the performance on Sunday, February 9. Run Time: Two Hours (Approx.) There will be a fifteen-minute intermission for this show. Content Awareness: This production depicts some violence in a comedic manner and mild sexual innuendos.
Performing on February 6, 8, 14, 16, 20 & 22:
- Drew Dyer, Jade Fernandez, Mash Hes, Lucien Hinton, Jason Phillips, River Spade, Allie Marée Starling & Matt Wade
Performing on February 7, 9, 13, 15, 21 & 23:
- Gabby Bailey, Emily Dake, Holly Oakley, Paula O’Brien, Chandler Peveto, Jon Robinson, Jackson Wilhelmi & Henry Williamson
Cheer & Dance Competition on Saturday, February 22, 2025 at ExploreAsheville.com Arena. Doors open at 7am. Event is 8:00am – 9:30pm. TICKET PRICES $20 at the door only.
Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.
Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”
Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.
RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.
As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”
“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”
See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.
The Asheville Art Museum is proud to present Asheville Strong: Celebrating Art and Community After Hurricane Helene, a poignant and inspiring exhibition on view February 13–May 5, 2025, in the Appleby Foundation Exhibition Hall. This non-juried exhibition
showcases the works of artists from the Helene-affected Appalachia region, celebrating their
resilience, creativity, and strength while highlighting the power of art to inspire and bring communities
together.
Ceramic artists throughout history have become masters of all four elements—creating clay from a mixture of earth and water to shape their work, drying it in air, and hardening it in fire. Throughout this process, the artist decides which aspects of the work will be tightly controlled, and when the elements can step in to leave nature’s mark. This exhibition traces the historical, stylistic, and conceptual origins of work that either embraces or refuses the element of chance in ceramics, looking at modern and contemporary work made in Western North Carolina.
This exhibition explores how the land, the people, and the built environment of Asheville and its surrounding environs were interpreted through early 20th century vintage postcards. Some images show the sophisticated architecture of the region, including views of downtown Asheville, the Biltmore Estate, and Grove Park Inn. Other images show views of the scenic mountains and landscapes that first drew tourists and outdoor enthusiasts to the region.
Journey into Sherwood Forest and the days of kings and crusades as this original adaptation of the classic story brings Robin Hood, his Merry Men, and all the beloved characters to life in a dynamic and thrilling way! Join Robin and all of his band as they face impossible choices and unspeakable dangers in their quest for justice in their beloved England!
Since Riverdance first emerged onto the world stage, its fusion of Irish and international dance and music has captured the hearts of millions worldwide. The Grammy award-winning music and the infectious energy of its mesmerising choreography and breathtaking performances has left audiences in awe and established Riverdance as a global cultural sensation.
To celebrate this incredible 30th year milestone, Riverdance will embark on a special anniversary tour, bringing its magic to audiences around the world. This spectacular production rejuvenates the much-loved original show with new innovative choreography and costumes and state of the art lighting, projection and motion graphics. And for the first time Riverdance welcomes “The New Generation” of performers, all of whom were not born when show began 30 years ago.
Audiences will enjoy a unique and memorable performance which blends the traditional and the contemporary, showcasing the skill and passion of the world-class of dancers, musicians and singers in the Riverdance ensemble.
Composed by Bill Whelan. Produced by Moya Doherty. Directed by John McColgan.
Mixtape Vol. 2: The Music of the 60’s, 70’s and 80’s – February 20 – 23
It’s February, which means ‘the boys are back…again! From the same outstanding musical talent who brought you the Music of Queen, the Eagles, and the Beatles, Mixtape! Vol 2: The Best of the 60’s, 70’s, and 80’s is back by oh-so popular demand! Shake off the winter blues with a red-hot rockin’ playlist featuring all new hits you know and love. You ‘dig it?’ ‘Let’s boogie!’ ‘Like, totally!’
Event Times: 2:00 PM & 7:30 PM
Ticket Prices: $48 / $58 / $68
Child Pricing Available (17 & under)
The Play That Goes Wrong at the Asheville Community Theater Fridays at 7:30 PM, Saturdays & Sundays at 2:30 PM.
Welcome to opening night of the Cornley University Drama Society’s newest production, The Murder at Haversham Manor, where things are quickly going from bad to utterly disastrous. This 1920s whodunit has everything you never wanted in a show—an unconscious leading lady, a corpse that can’t play dead, and actors who trip over everything (including their lines). Nevertheless, the accident-prone thespians battle against all odds to make it through to their final curtain call, with hilarious consequences! Part Monty Python, part Sherlock Holmes, this Olivier Award–winning comedy is a global phenomenon that’s guaranteed to leave you aching with laughter!
A talkback with the cast & crew of The Play That Goes Wrong will be held following the performance on Sunday, February 9. Run Time: Two Hours (Approx.) There will be a fifteen-minute intermission for this show. Content Awareness: This production depicts some violence in a comedic manner and mild sexual innuendos.
Performing on February 6, 8, 14, 16, 20 & 22:
- Drew Dyer, Jade Fernandez, Mash Hes, Lucien Hinton, Jason Phillips, River Spade, Allie Marée Starling & Matt Wade
Performing on February 7, 9, 13, 15, 21 & 23:
- Gabby Bailey, Emily Dake, Holly Oakley, Paula O’Brien, Chandler Peveto, Jon Robinson, Jackson Wilhelmi & Henry Williamson
The Asheville Art Museum is proud to present Asheville Strong: Celebrating Art and Community After Hurricane Helene, a poignant and inspiring exhibition on view February 13–May 5, 2025, in the Appleby Foundation Exhibition Hall. This non-juried exhibition
showcases the works of artists from the Helene-affected Appalachia region, celebrating their
resilience, creativity, and strength while highlighting the power of art to inspire and bring communities
together.