Calendar of Events
Upcoming events and things to do in Asheville, NC. Below is a list of events for festivals, concerts, art exhibitions, group meetups and more.
Interested in adding an event to our calendar? Please click the green “Post Your Event” button below.
Join Junior League of Asheville members at their favorite event of the year – Galentine’s at Crave Dessert Bar. Enjoy a dessert and meet like minded women who make an impact in WNC. Sparked with Love will be onsite with permanent jewelry for sale!
Attire: casual
Included with admission
Bask in the glow of a glittering cascade of lights illuminating trees, buildings, and the pathways that connect Antler Hill Village’s unique shops and restaurants. Also adorned with cheerful lights: our relaxing Winery, where complimentary tastings await. Don’t miss this must-see part of the Biltmore evening experience!
Once again, Bertie finds himself suffering the slings and arrows of misfortune at the hands of his relatives, caught between his fierce Aunt Agatha, his plaintive cousin Egbert, a saucy jazz singer, and his future father-in-law. Another priceless predicament calling upon the redoubtable Jeeves to save the day.
Performances of Jeeves Saves the Day will be held on the days and times listed below. The lobby and concessions area will open one hour prior to showtime. Concessions may be taken into the theatre during the performance.
January 22 – February 16, 2025
Wednesdays, Thursdays and Saturdays at 7:30
Sundays at 2pm
Friday 1/24 and 1/31 at 7:30pm
Friday 2/7 and 2/14 at 2pm AND 7:30
This 75-minute production tells the story of a character who has lost her inner light, plunging into a wondrous and surreal world where memories come to life and the ordinary becomes ‘extra’ordinary. With over 8 breathtaking acrobatic acts, “Solstice” combines light design, costumes, enchanting music, surreal scenery, and the magic of falling snow to create this celebration of the human spirit. A blend of local and national artists comprise the cast of seven.
Billy Strings returns to ExploreAsheville.com at Harrah’s Cherokee Center – Asheville on February 6-8 & 14-16, 2025.
A percentage of every ticket sold will benefit Bounty & Soul, United Way of Asheville and Buncombe County, MANNA Food Bank and American Red Cross Western North Carolina Chapter.
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What happens when love challenges tradition? Join us for Guess Who’s Coming to Dinner, a heartwarming and thought-provoking play that brings laughter, romance, and social change to the stage. Inspired by the iconic 1967 film, this production tells the story of an interracial couple whose engagement shakes up the ideals of their families. Set in the midst of the Civil Rights movement, the play’s themes remain as powerful and relevant today as ever. Don’t miss this unforgettable theatrical experience at Hendersonville Theatre! Join us as we celebrate love, family, and the power of change. |
February 6-16, 2025
Thursday, 2/6, at 7:30 (pay what you can available on 1/23)
Fridays at 7:30
Saturdays at 3 pm
Sundays at 3 pm
A revolutionary story of passion, unstoppable ambition, and the dawn of a new nation. HAMILTON is the epic saga that follows the rise of Founding Father Alexander Hamilton as he fights for honor, love, and a legacy that would shape the course of a nation. Based on Ron Chernow’s acclaimed biography and set to a score that blends hip-hop, jazz, R&B, and Broadway, HAMILTON has had a profound impact on culture, politics, and education. HAMILTON features book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire. In addition to its 11 Tony Awards, it has won Grammy®, Olivier Awards, the Pulitzer Prize for Drama, and an unprecedented special citation from the Kennedy Center Honors. HAMILTON is recommended for ages 10+ and contains some adult language and mature themes. Tickets $59-$199.
- Wednesday, February 5, 2025 7:30 PM
- Thursday, February 6, 2025 7:30 PM
- Friday, February 7, 2025 8:00 PM
- Saturday, February 8, 2025 2:00 PM
- Saturday, February 8, 2025 8:00 PM
- Sunday, February 9, 2025 1:00 PM
- Sunday, February 9, 2025 7:00 PM
- Tuesday, February 11, 2025 7:30 PM
- Wednesday, February 12, 2025 7:30 PM
- Thursday, February 13, 2025 7:30 PM
- Friday, February 14, 2025 8:00 PM
- Saturday, February 15, 2025 2:00 PM
- Saturday, February 15, 2025 8:00 PM
- Sunday, February 16, 2025 1:00 PM
- Sunday, February 16, 2025 7:00 PM
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.
Double the deliciousness – Asheville Restaurant Week returns January 21-27 & February 17-23!
For many, the delicious culinary creations of local restaurants are a big part of what makes Asheville special. Asheville Restaurant Week celebrates Asheville’s great food scene. Show your favorite restaurants some love or try someplace new!
Check back for additional menus/special offerings.
Asheville Restaurant Week – Asheville Area Chamber of Commerce
Included with admission
Bask in the glow of a glittering cascade of lights illuminating trees, buildings, and the pathways that connect Antler Hill Village’s unique shops and restaurants. Also adorned with cheerful lights: our relaxing Winery, where complimentary tastings await. Don’t miss this must-see part of the Biltmore evening experience!
Heroes in the Shadows: Unknown Civil Rights Leaders
Tuesday, February 11, 2025 at 12:00 PM
Tuesday, February 18, 2025 at 9:00 AM
ABOUT THE SHOW
You know Martin, Malcolm, Ruby, and Rosa, now it’s time to shine a light on lesser known leaders of the Civil Rights movement. Join us for a unique game show experience where students participate in interactive rounds, earning points, and gaining knowledge about these pivotal yet unrecognized leaders.
- Run Time (Approx.): 45-60 Minutes
- Best For Grades: 6-8
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.
Double the deliciousness – Asheville Restaurant Week returns January 21-27 & February 17-23!
For many, the delicious culinary creations of local restaurants are a big part of what makes Asheville special. Asheville Restaurant Week celebrates Asheville’s great food scene. Show your favorite restaurants some love or try someplace new!
Check back for additional menus/special offerings.
Asheville Restaurant Week – Asheville Area Chamber of Commerce
EAT THE RICH. We believe life’s best moments are often centered around the best food and drink experiences. Whether you briefly pop in for a farm -to-go- cocktail & decadent dessert, prefer to linger over a shareable savory plate & hookah, we invite you to get lost in the conversation and enjoy the moment.
Experience America’s most popular dance company when Alvin Ailey American Dance Theater brings its unique mix of contemporary and classic movement to the stage. In this season celebrating lineage and legacy, Ailey’s extraordinary dancers will perform the beloved masterpiece Revelations and will bring to life works by numerous choreographers for whom Mr. Ailey paved the way, reminding us that dance is both a reflection of our past and a guide to our future.
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.
Double the deliciousness – Asheville Restaurant Week returns January 21-27 & February 17-23!
For many, the delicious culinary creations of local restaurants are a big part of what makes Asheville special. Asheville Restaurant Week celebrates Asheville’s great food scene. Show your favorite restaurants some love or try someplace new!
Check back for additional menus/special offerings.
Asheville Restaurant Week – Asheville Area Chamber of Commerce
Join the Chamber for Midday Mingle at Rye Knot next Wednesday, February 19th, from 12 – 1:30 PM to connect and support the businesses that make Asheville strong! This lunch gathering is all about coming together to share stories, build our connections, and show our support for local restaurants and breweries.
Dietrich Bonhoeffer (1906-1945) was a beloved pastor and theologian whose work has blessed countless people around the world. Christians especially have cherished his practical theology, approachable writing style, and prophetic vision. This Epiphany chapel study will engage Bonhoeffer’s works to help us learn how to be faithful in times of political and social upheaval.
Experience America’s most popular dance company when Alvin Ailey American Dance Theater brings its unique mix of contemporary and classic movement to the stage. In this season celebrating lineage and legacy, Ailey’s extraordinary dancers will perform the beloved masterpiece Revelations and will bring to life works by numerous choreographers for whom Mr. Ailey paved the way, reminding us that dance is both a reflection of our past and a guide to our future.
Asheville Comedy Festival presents A WNC Benefit Show with comedian Rory Scovel and Friends. February 19, 2025 at 7:30 p.m.
A WNC Benefit Show with comedian Rory Scovel and friends presented by Asheville Comedy Festival. Rory Scovel is an actor, comedian, and writer. His latest comedy special RORY SCOVEL: RELIGION, SEX, AND A FEW THINGS IN BETWEEN released in February, 2024 on MAX to rave reviews. Joining the lineup are local comedy sensations Hilliary Begley and Cayla Clark. Don’t miss the opportunity to catch this hysterical event benefiting the local businesses of Asheville affected by Helene!
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)
Depending on location, heavy rains and flooding from Hurricane Helene impacted soils throughout WNC. Many gardeners have questions about how to address everything from sediment and rock deposition to potential contamination. Michael Rayburn, Urban Ag Extension Agent in Buncombe County will walk us through the process of determining how to move forward with addressing soil health post Helene.
The presentation is free, and registration with Eventbrite is required.
Check the Events Calendar on the website for information on how to register via Eventbrite. https://www.buncombemastergardener.org/upcoming-events/
If you have questions, contact the Buncombe County Extension office at 828-255-5522.
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.
Western North Carolina, roses are usually ‘hard pruned’ in the late winter or early spring. Dead or damaged canes are removed, and the plant is shaped for optimal growth and blooms. Many rose growers are uncertain of how to correctly prune their roses. This program unravels the mystery of pruning and will help you have healthy and happy roses.
This will be an in-person program at the Extension office at the address above. Portions of this program may be held outside; please dress appropriately for the weather. The classroom size is limited so register to reserve your seat!
Registration: The talk is free but registration via Eventbrite is required. Please click on the link below to register. If you encounter problems registering or if you have questions, call 828-255-5522.
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.