Drama and Dance
It is a godsend for the Washington theater audience that Constellation Theatre manages to put on large cast shows so successfully. They did it again with "The Oresteia" (To 6/1) at the Clark Street Theater. The count of actors this time was 29 highly energized actors playing their hearts out with this Greek tragedy...but they managed a number of laughs mostly of the nervous types against the gripping murder scenes. A star was born with the performance of Joe Brack as Orestes who managed such a natural presence on stage against the highly stylized work of the other actors...yet he was extremely strong and charged when called upon. Biran Hemmingsen and Nanna Ingvarsson were totally perfect, as usual, as victorious Agamemnon and vitriolic Clytaemnestra who lavished in bloody vengeance. Jennifer Crooks did wonders with the role of the fortune teller Cassandra and Nick DePinto played a wonderfully "cool" Apollo god. Misty Demory provided a clever legal balancing act as Athena. Unfortunately this scipt translated by Robert Fagles and adapted by Allison Arkell Stockman lacked coherence and definition in the first part so it was only the appearance of Jjana Valentiner as Electra in the second part where the plotting was clarified for both parts. The dialogue was more natural without poetic complexities that blurred the interactions of the characters in the first part. Of course the show was too long at 3 1/4 hours but the choreography by Ashley Ivey was so exceptional that one didn't mind those lengthy additions. The Furies group of Hilary Kacser, Lisa Lias, Julia Proctor, Julie Roundtree and Amy Quiggins added lots of excitement and they rolled around the floor, did wild dancing and spittingly attacked other chacters on stage. Yvette M. Ryan did wonderful royal and god costumes but the underlings had an admixture of modern with period overlays. The furies costumes were magnificent and added to the wonderment of how this low budget company could afford all of these accoutrements in costumes, scenery and props. The lighting by A.J. Guban was fair to middling as too often the central actor in a scene was unlighted but it could be the fault of trying to light such a full stage with the paucity of lights at the Clark Street Playhouse...or the actors failing to take center stage. Regardless, this is an exceptional production but be warned to familiarize yourself with the part of the story regarding conflicts around Agamemnon to fully enjoy the first part of the production. (Reviewed by Bob Anthony)
*****
Nucky Walder and Peter Pereyra are well on their way to becoming a first class comedy team as confirmed by their second mother/son acting chore...this time in "She Returned One Night" (To5/31) at the Teatro de la Luna at Gunston. This time she is a returned-from-the-grave hispanic Jewish mother who wants to give her approval for her son's soon-to-be wife after she has browbeaten him for years of batchelorhood. It is a romantic farce all the way and director Mario Marcel has filled the stage with fast and effective comedy routines that makes it a riotous evening of entertainment with a most tender ending. Peter Pereyra has exceptional comedy technique especially in his "drunken" scene where he bamboozles his two friends, Alex Alburqueque and Gerald Montoya, with a fake ghost scene and these two actors are wonderful foils. Wonderfully expressive Nucky Walder again presents an expected top rate performance. Gerald Montoya also does a wonderful confused supposed-patient who must go through wild undressing for just a bum toe? Anabel Marcano is the oversexed kitten who can't wait for the wedding ring but quickly burns and turns when she suspects another woman in the picture. Sweet-in-person offstage Marcela Ferlito plays the archangel who is the deus ex machina to correct the bad earth situations with sometimes militaristic aplomb. Alex Lopez-Montanez and Cythia Urrunaga play fine graveyard buddies. Ayun Fedorcha does her usually fine lighting on a well built bachelor apartment set design by Mario Marcel. Again Teatro de la Luna comes through with an exceptionally fine family play that keeps the audience still laughing as they leave the theater. (Reviewed by Bob Anthony)
*****
Wow! what a creative production of "Cinderalla" (To 5/11) that has more comedy dancing than one would ever expect for a sentimental fairy tale thanks to the superb choreography of Septime Webre. He outshines his "Nutcracker" which is yearly masterful. John Goding and Aaron Jackson had the audience in stitches as the nasty sisters with more pratfalls than an old vaudeville team. And the romantic dancing of Brianne Bland as Cinderella and Jared Nelson had all the little girls' hearts a-flutter. They did a couple of lifts and twists that were breathtaking to add to the "a-flutter". Erin Mahoney Du as the fairy godmother showed perfect casting with her Kirov-arm undulations that startle. Jonathan Jordan continues to provide the highest leaps and turns that brings sighs of "ahs" and his multi-turns show absolutely no forward creeping. Sona Kharatian was matchless with her shawl patternings as the Spanish Woman and Maki Onuki as the Tunisian Woman continues to be the upcoming star of the company. But it was probably the little tykes who did the bumblebee sequence with derriere shakes that got the roundest applause so they had to take an immediate "curtain" call. The costumes and wigs by Judanna Lynn were wonderfully elaborate for all of the characters. James Kronzer proves he can develop as fine a scenery plot for ballet as he does for theater. And Joshua Michaels always came through with appropriate lighting for both the comic and romantic scenes. This is a highly recommended family show and especially it fulfills the romantic dreams of all young misses. The Washington Ballet Company finally reaches the top level of the dance! (Reviewed by Bob Anthony)
*****
The McLean Community Players is presenting Gurney's "Sylvia" (To May 17) and the director and actors turned a farce into a mild comedy...yes, there were very few laughs except for the sexual innuendoes. The story is about a lonely, jobless guy and a talking dog. In a very acceptable set by Dick LaPorte and wonderful sound design by Jerry Bonnes, the actors lacked too much comedy timing and the change of scenery was so lengthy that this comedy at times became soporific. Lots of blame is on the shoulders of lead player William Doyle whose lines were delivered too ponderously where quick retorts were demanded. Barbara Hayes plays the wife with good spurts of energy and line delivery so that she appeared the most professional in the cast. Ditto for Lisa Swinehart as the dog whose forte was for excellent canine impersonations. Summer Donaldson and Bill Kitzerow slightly failed as full characters as family friends. And Rebecca Lenehan in masculine attire as the counselor was too sharply manic depressive so that she garnered few script laughs although the audience gave her applause at the end of her scene. The lighting by Bob Ziegler was too muted for a comedy and too often the main characters in a scene were out of central lighting. It is a cute imaginative play...so see it if you haven't before now. (Reviewed by Bob Anthony)
*****
Deidra LaWan Starnes again proves that she is the finest actress on DC stages with her stunning performance in "Intimate Apparel" (To 5/18) at the African Continuum at the Atlas Theater. The audience feels both the joy and disappointments that she reflects off of her seamstress character who is going through a critical romantic period in her 35th virginal life year. She is illiterate and has a couple of friends write her love letters to a rogue lover from Panama who turns out to be a venal and punishing addition to her life. The correspondence is not unlike the "Cyrano" story, of course, which is the only weakness in the script by playwright Lynn Nottage. But there are just so many basic theatrical plots possible! Klyph Stanford provides a multi-level stage with six playing areas that is most engrossing as the story line progresses...also this technie provides fine spot lighting necessary for the flow of the play. Diana Khoury provides matchless and stunning period dress. The rest of the character protrayals are quite nice including always theatrically dependable Jewel Robinson as the landlady, Susan Lynskey as the elegant customer, Daniel Eichner as the Jewish cloth salesman, Annette Dees Grevious as the very friendly woman of the night and Zuanna Sherman's feisty scoundrel lover. There were a few minor weaknesses in that Mr. Sherman could barely be understood due to a heavy accent but he had excellent kinesics; Ms. Lynskey came too close to a Southern dame in the city of New York but her characterization was thorough; and Mr. Eichner went in and out of a Yiddish accent. This is a highly recommended...very sensitive play...extremely well directed by Jennifer L. Nelson. (Reviewed by Bob Anthony)
*****
Every American should see a production of "1776" (To May 11) as it describes the foibles and fraughts faced by any group deciding to form a new type of government...it is even reflected in the current Iraqi situation. For the USA this Olney Theatre play ranges from conflicts about trade and slavery to even what was to be the national bird...dove, eagle or turkey! Although advertized as a musical it is really a play with music since dialogue takes up 95% of the play and only one or two numbers moves the play forward...otherwise they simply define the characters. It is a huge cast including all of the signers of the Declaration of Independence plus two wives who confirm that female struggles were also involved in times of love and war. No doubt, the finest characterization was by Harry A. Winter who provided a charmingly witty but most serious historical figure above and beyond Benjamin's womanizing. Jessica Lauren Ball as Martha Jefferson delighted the audience in her "He plays the violin". And Chris Sizemore was superior in Southern accent and his rendition of "Molasses to Rum" as he denounced the rum, cotton and slave traders as being equally guilty. The rest of the cast were adequate but American sectional dialects were sorely missing except for the Southerners. Paul Binotto as John Adams was the chief violator as he only occasionally dropped the "r" and never added an intrusive "r"...plus he hit a few "cawn't"s but mostly said "can't"s. This may have been at the director's request which is strange since Stephen Nachamie did so well in handling this very large cast in terms of focus and movement...why not speech patterns? The star of the technicals was the costuming by Howard Vincent Kurtz especially for the women's gowns. Robert Andrew Kovach provided a fine set that allowed lots of playing areas for twosomes and threesomes. Christopher Youstra played a mite too loud for this group of singers although his direction for background music was quite effective. This is a wonderful family show that will stimulate lots of dinner table talk for months to come. Certainly school groups would be most welcome. (Reviewed by Bob Anthony)
*****
Center Stage's "These Shining Lights" (To 6/1) is a world premiere for this Baltimore theater. Melanie Marnich, one of the writers of HBO's "Big Love" has written this work that examines in an intimate fashion the plight of female workers who are at the mercy of their corporate leaders. During the 1920's and 1930's many women worked at a radium-dial plant outside of Chicago and they were uninformed of the physical danger in their work. So sometimes they would put the brushes to their lips or paint their nails with it. Soon enough they discovered the symptoms of radium overdose. Sadly this is the case before the government started to demand safer work places. This drama shows very funny yet strong and determined women and Ms. Marnich tells their story briliantly. Emma Joan Roberts, Kate Gleason, Kely McAndrew and Cheryl Lynn Bowers all do outstanding jobs portraying those suffering under dishonest company bosses as they were cast off as soon as they showed even a slight symptom of radium poisoning. Tom Donahue played the husband of one of the workers. Erik Lochtefeld played Mr Reed, the manager of the plant and both are excellent in their roles as sympathizer or villain. The production is directed by David Schweizer in spare stage sets by Alexander Dodge but he was very effective in hitting the rhythms of the character interactions. Justin Townsend did an effective job designing the lighting and Anita Yavich did fine period costumes with certain materials that reflected the shimmer that emanated from the women as they became radium activated...a beautiful stage effect. (Reviewed by Nancy McCord)
*****
The Helen Hayes awards again saw only nine theaters winning all the awards. Must we tell the "king that he doesn't wear clothes". What happens to the judges when assessing the 50 plus other theaters functioning in this DC metro area? The winner this year was Synetic with seven wins and yet wonderful Toby's received only one. Shakespeare and Arena and MetroStage got nothing! And Gala and Imagination Stage and others didn't even receive a nomination. And why three ties...shouldn't the judges make a decision so that only one winner is chosen. Really the whole system needs redoing...judges' votes should be weighed regarding size of budgets, houses and maybe even years of operation. Probably the only exciting part of the awards ceremony was that Chris Youstra finally won an award for his orchestration at Toby's Dinner Theater for "Titanic". And special awardee Derek Jacoby gave a brilliant acceptance speech that clarified what life in the theater is like. Otherwise one tired of the sameness of the winning awards. The winners' list can be found on www.helenhayes.org Certainly Helen Hayes would be most disappointed to see so much money go into an uninspired theatrical event...better to spend it on scholarships for theater students. The nice addition this year was the surtitles which announced the awards since the audience again unfortunately overreacted to nominee and winner announcements...thus one could easily read who the winner was unlike previous years. (Reviewed by Bob Anthony)
*****
When one sees "Anima"(To 5/11) at Flashpoint, one realizes the importance of techies to provide superb setting (Hannah Jean Crowell), lights (Andrew Cissna) and sound (Chris Baine) for a complete theatrical experience...you are there in a seedy Brooklyn apartment! And with the marvelous, hyperdramatic threesome acting out this play one gets to the top of the "thrill ladder". Parker Dixon, Marissa Molnar and Andres Talero are perfectly cast as the respective schizo visitor, manic depressive renter and a battle weary and always threatened paranoidal soldier returning from Iraqi duty. There has never been such dramatic fireworks seen on a DC stage! The play is a bloody social tragedy the likes that have never been seen even on grand opera stages. Casey Kaleb outdoes his previous work with fierce stage combat patterning. Some audience members covered their eyes during the vicious interludes. Director Patrick Torres fully uses the stage and most successfully develops the plot. The only missing element is that one has no empathy for any of the three characters so the challenge is to keep looking for sympathetic clues so one can establish an empathy...it never comes so the tragic ending is enlarged emotionally. This is a highly recommended show but only for serious theater goers as it has vulgar language, masturbatory and sexual dalliance scenes and heavy drug taking. Certainly leave the children at home. But these are award winning acting and tech successes. The players make an unbelievable story line most convincing. (Reviewed by Bob Anthony)
*****
Scena Theatre, as part of their Camus project, is presenting Otho Eskin's adaptation of "The Plague" (To 5/11). All went well for the first three minutes with a wonderful mirrored box set by Leon Weibers and superb lighting by Marianne Meadows especially with the floor's shadowed lighting that looked like maggots or germ cells. The actors came on and sat on chairs around the stage so we expected fine epic theater. But this was not to be. There was no sense of panic regarding all the dead rats piling up on the streets nor the plague that was killing off all of the residents of this small community. Perhaps director Ellen Wilhite so intended such a staid reading of the lines so they were just stated with no sense of dramatic intent...so a violent death scream by an unnamed female character provided the only drama. One had to concentrate on trying to identify the characters...Mr. Eskin must remember that a character's name should be repeated the magic three times for an audience to identify such. The play is a short intermissionless 90 minutes and it seemed to attract a nice audience for this Saturday performance. But best to just read the book to get emotionally involved in this story. (Reviewed by Bob Anthony)
*****
Mark Rhea finely directs the Keegan Theatre's powerful production of Brian Friel's classic (To 5/17). Set in a hedge-school in an Irish community in County Donegal in 1833 in the time of "The Troubles", the action begins with the arrival of two Brit officials..Daniel Lyons as the practical Captain Lancey and Peter Finnegan as the romantic Lieutenant Yolland. Their official plan to re-map Ireland and give English names to Irish places seems merely a government exercise until the complexities of relationships escalates into violent annihilation of the community. Colin Smith as Manus, who has chosen to teach with his father in the hedge school, and Jon Townson as his brother Owen, who returns as a translator, seem to have chosen opposite sides on the battle of languages. Kevin Adams as their father Hugh and Stan Shulman as Jimmy Jack ramble comfortabley between Irish, Greek and Latin as they describe love and myth and liquor. For Susan Marie Rhea as Maire...she choses the language of love and ends up with wrenching heartbreak. Samantha Sheehan, Matthew Keenan and Erin Buchanan complete this wonderful cast. No interpretation is needed to understand this complicated language mix-up which is so wonderfully linguistic and should be seen by all who are interested in the language of world drama. A further word to the wise: it is selling out quickly so get your tickets soon. (Reviewed by Celia Sharpe)
*****
The Forum Theatre is proving itself to be the thinking man's or woman's theater. Presently they are presenting Stephen Adly Guirgis' "The Last Days of Judas Iscariot". It is sacrilegious and profane with too much cursing...especially from the mouth of St. Monica...but it is so well researched regarding religion and philosophy that it is beautifully intellectually and emotionally challenging. And it is filled with superb one liners that keeps the audience on a rolling wave of laughter. Granted at three hours' length with intermission, it needs some judicial cutting but the material is so intellectually luscious that this critic could have taken another hour of it. It also has a dream cast of 15...each one who fulfills the demands of the powerful script. The setting is a courtroom in purgatory and a decision must be made about the guilt of Judas and whether he has any hope of rising into heaven. Julie Garner and Scott McCormick as the attorneys and Brian Hemmingsen as the judge nary miss a beat throughout. Some sterling moments are offered by Maggie Glauber as a dour and deaf Mother Teresa, Jesse Terrill as Freud, Veronica del Cerro as St. Monica, Frank Britton as a jivey Pontius Pilate, and Emily Webbe as Mary Magdalene. Jim Jorgensen as the naughty devil came close to stealing the show except he met his match with his most professional co-players. Other fine performances are by Margery Berringer, Patrick Bussink, Jason McCool, Cesar A. Guadamuz, Frank B. Moorman, and Rex Daugherty. John Vreeke can put another feather in his directing cap for this one...it is solid. Colin K. Bills gets the tech award with his brilliant use of lighting for this one. This is definitely a hit show but keep the youngsters away because of the suggestive scenes and the vulgar language. (Reviewed by Bob Anthony)
*****
Center Stage of the Reston Community Center presented actor Anthony Zerbe in his one man tour-de-force featuring the poetry and prose of e.e.cummings. The deftness with which he intertwined his material allowed us to see the characters and to glimpse into the poet's life. The material was seamless. This poet was never a particular favorite but after Mr. Zerbe's presentation it made a second-look mandatory. But live performances sometimes go smoothy throughout however Mr. Zerbe's lost a line and he had to make two attempts to retrieve it...but this made him more endearing for such an effort since e.e.cummings' material is rather too complex. Mr. Zerbe finished with questions from the audience and he responded with grace, finesse and charm. (Reviewed by Beverly Cosham)
*****
The Russian St. Petersburg Ballet provided a glorious evening of ballet with an exquisitely performed "Swan Lake". The sets by S. Pastukh were grand as were the multi-colored costumes by G. Solovyova. They must have "blown the budget" with such opulance. And unexpectedly the audience at the GMU Center for the Arts went wild with applause and showed mucho sophistication in knowing the proper places to applaud. A. Abaturov as the Jester totally stole the show with flying leaps and turns that defied gravity...in 40 years of going to the ballet, this critic has never been so impressed with such dance pyrotechnics. A. Isaeva was totally lithe as Odette with determined dancing and she easily managed 31 turns without traveling in the famous solo piece in Scene 3 as Odille...no wonder she stole Siegfried's heart. Y. Mirov made a striking blond appearance as the prince but his dancing is still not matured but it is headed in the right direction. To evaluate total quality of a classical ballet group one looks to the corps and this group of lady dancers was movement perfect with most steady balance throughout. S. Davydov played the evil Rothbart and was successful in getting boos from the audience after his solos..."boo the villain". This is a very impressive ballet company and one trusts they will make yearly returns to this nation's capital. (Reviewed by Bob Anthony)
The St. Petersburg Ballet Theatre performed "Carmen". I was disappointed as it never met my expectations of heat, vibrancy, and excitement. The principal dancers were fine for the most part but the corps de ballet was spotty and seemed under-rehearsed. The choreography although provocative in certain instances was just odd. The music using Bizet themes were regurgitated in harsh, tinny techno sound and, with the ethnic costumes, the production had a very eastern European flavor for this French tale. White-masked figures placed tables and I couldn't understand that symbolism. The curtain call went on far too long almost creating a third act. It was not one of my most memorable evenings in the theater. (Reviewed by Beverly Cosham)
*****
*****
The American Century Theater is most successful in its production of "The Eccentricities of a Nightingale". (To 4/26) It is a re-write by Tennessee Williams of "Summer and Smoke" and he always felt it was better than the original. Whether it is the re-writing or the acting by Vanessa Bradchulis, in this production Alma is quite feisty as she is fighting off entering old maid status without ever having loved. However, sometimes one wanted her to show a little more coy repression. As I recall in "Summer and Smoke" Alma had a slight stutter to confirm her repression. Probably Ms. Bradchulis's best scene was the final one when she captured the character perfectly as she proposed sex to a young traveling salesman...remember the paper boy scene in "Streetcar". Many critics think Alma turns into Blanche. Carol Randolph as Alma's mother did a masterful job in presenting a girlish character as she moves into senility. Mick Tinder, as the father, also was impressive as the unsmiling and emotionally cold minister. Michael Sherman as the doctor next door proved that "acting is reacting" with wonderful emotional responses to other's dialogues and movements. He was truly a gem throughout. Mary-Anne Sullivan played the possessive mother of the doctor with underlying vindictiveness and manipulation that was perfect for the role. Steven Scott Mazzola kept a strong pace and focus thoughout a too long script lasting over 150 minutes. No, it is not Tennessee Williams' best play but is showed a wonderful maturity in writing style and his inner searching of this wonderful cast of characters. Also in the play were Daniel Steinberg, Mary Milben, Scott Zeigler, Anne Paine West and Brandon Ferraro.(Reviewed by Bob Anthony)
*****
Although Hubert Henry Davies wrote "The Mollusc" (To 5/4) around 1910, the play did not seem dated since references to time and place are not mentioned in the script. The Quotidian Theatre did play it as a period piece, however. It is a charming drawing room light comedy about a confirmed bachelor Brit from Colorado who returns home to England for a visit and falls in love with the governess of his sister's children. Complications are minimal except that the governess is so indebted to the sister and her husband that she is hesitant about leaving them to join the said brother in Colorado to "ride broncos through the hills". There was lots of gentle laughter by the audience for this cleanly written social comedy. Laura Russell was most engaging as the governess with wonderful transitions in character. John Decker and Malinda Smith were fine as the husband and wife. Only Richard Baxter was quite annoying as he overused "hands on hips" throughout the two hours playing time. Granted that a good actor has a master gesture but to overdo it is bothersome. The director should have tied his hands in rehearsal to stop that behavior. And there were some lines in the script regarding this brother character which would indicate that the role was somewhat miscast. DirectorJack Sbarbori again uses the small stage space well and he also again provides a lovely set with excellent dressing. This play provides a good "clean" script for the whole family with a lesson to be learned that a family needs everyone to share in upkeep of a home and not be inactive mollusks. (Reviewed by Bob Anthony)
*****
The Round House Theatre in Bethesda tries to turn the classic book "Lord of the Flies" (To 4/27) into a rock-song and choreographed-dance production. With ten adult male actors and one possible (?) boy actor we are to believe that a group of British schoolboys after a crash landing on a deserted island try to establish a democracy. Such a scenario would be acceptable in an acting class improvisation but not as a polished stage production. (I recall playing Jack in the beanstalk story as an adult and the first demand of the director was "Shave those hairy legs"...nuff said). The movie worked very well cast with young actors and we gradually saw a transition into a primitive anachic state along with seeing how they managed to use items they found on the deserted island to make crude instruments for food and later killing. Not so with this production...after intermission we saw blazing across the stage primitively dressed overly-tattooed armed antagonists ready to kill their five former "friends". Fortunately Matt Farabee as Simon fared the best since he was incidentally killed in the first act and, by the way, gave the only convincing acting during the first of the two hours. Kevin Rigdon provided first class scenic and lighting design and Elizabeth Forte was successful as a dialect consultant. The production would be perfect for our local Imagination Stage as a creative opus...mostly for children...but it is hardly adult fare as the philosophies and political threats and primitive venality suggested by the book author, William Golding, is just not realized. So, yes, take all of your kiddies to this one as they will probably excuse all of these criticisms. Also in the cast are Craig Pattison, Alexander Strain, Evan Casey, Michael Grew, Kyle Schliefer, Abe Cruz, Clay Steakley, Ryan Nealy, Patrick Elliott and Sean McCoy. (Reviewed by Bob Anthony)
*****
Yes, we have fantastic neo-baggy pants comedians in the persons of Trey Lyford and Geoff Sobelle at Studio Theatre ("The Rainpain 43 Festival" to 4/20) as they perform "All wear bowlers". They are "neo" as they cleverly use audio/visual techniques as they pop in and out of a screen that acts like an early Charlie Chaplin movie...and they perform some wonderful vaudeville skits and magic acts for a solid 90 minutes of delight. (At Sunday's matinee they had a delightful 10 year old girl who giggled the whole time which added more humor to the goings on). They finished the act with a delightful ventriloquist skit and Trey Lyford wowed the audience as a monster who...with lionized gestures...symbolically killed all of the audience members. It is a totally fun show...great for anyone down-in-the-dumps during April showers or even on sunny days. And take the kiddies along. (Reviewed by Bob Anthony)
Performing in rep, Andrew Dawson and Trey Lyford are also presenting Goeff Sobelle's "Amnesia Curiosa" (To 4/20). The audience is sent through a "remembrance of things past" contained in aged cabinets before being seated. The two comedians then present a series of skits about the brain, memory and some tricks to fool the mind. They are very much like early "Saturday Night Live" skits which, of course, were always very, very funny as opposed to current ones. A couple of them were rather obscure regarding the themes...like the war pilot...but generally these two kept the audience in a fine humor for 90 intermissionless minutes. This program has more relaxed humor which is a nice change of pace for these two comedians. James Sugg's sound was superb for this production. (Reviewed by Bob Anthony)
*****
Gala has opened Lorca's "Blood Wedding"/"Bodas de sangre" (To 4/27) and one soon realizes that it is a work of love by director Hugo Medrano. He respects this playwright and attempts to present it as the classical drama that it is. His regret has to be that the 22 actors don't understand classical style and vaccilate between "wooden" acting or "highly stylized" acting in describing the runaway bride and the family vendettas that it re-awakens in a Spanish community...so there is too little hispanic passion. So more enjoyment comes from reading the surtitles with Lorca's poetic passages complete with similies and metaphors that are gorgeously chilling. The play is also cast with too young a cast particularly with the mother of the groom who doesn't have sufficient make-up to fulfill the age of a mother with two adults sons...of which one is murdered as was the husband before him. Lorca plays need weathered village people who are always underlayered with tragedy. Finally some true emotion comes through in this production only when the ravished bride returns to face the groom's mother demanding that she be killed also in order to regain her dignity. Mr. Medrano nicely adds some surrealistic touches with a huge moving moon which seems so appropriate since Salvador Dali was a close friend of Lorca. The play was certainly a crowd pleaser with solid applause at the end with lots of red roses thrown onto the stage. If you have never seen a Lorca play, you will only gain greatly regarding classical drama during a brief but glorious period of Spanish drama. (Reviewed by Bob Anthony)
*****
"A View from the Bridge" (To 5/18) is the most spectacular and satisfying theatrical that the Arena Stage has put on in the last ten years! This full cast was amazing in developing local color and portraying ethnic conflicts that occurred with incoming European relatives during the huge migration of foreigners into our country. This is Arthur Miller's most violent yet insightful script about the American experience and one marvels how he always managed to give full verbal force to his plays without resorting to cursing and "potty" language and references. And it was so nice to see that director Daniel Aukin chose fine environmental appointments even to using real food and drink throughout. The whole cast was stellar with award winning performances but the favorite with the audience appeared to be David Agranov as Rodolpho who had all of the Italian kinesics and peasant strivings and elegance as if he truly just got off the boat from Italy. Ditto for Louis Cancelmi who played an opposite as a swarthy and more nefarious go getter who only wished to profit from the "streets of gold" and return to Italy with his loot. Naomi Jacobson was at her absolute best as Beatrice, the wife, who carefully knew her boundaries but was feisty when it was called for in battling for fairness for the loved ones around her. Virginia Kull was stunning as the young lady who was so awkward in making decisions to "grow up" when making romantic decisions in her life. And it was so nice that Delaney Williams was chosen to play the lead of Eddie as he really showed off his fine acting talent as a most confused but destructive romantic. Unfortunately his character was played too close to Archie Bunker with more of a Bronx than a Brooklyn accent but the audience could care less since he played the role so powerfully. Dialect coach Robert Barry Fleming also failed with Noble Shrophshire who went in and out of a Jewish dialect as an Italian lawyer. But if you only have spending money for one production this year, definitely make it this stunning production of "View from the Bridge"...you will not be disappointed. (Reviewed by Bob Anthony)
*****
Like Linda Loman at the funeral in the play, this critic couldn't "cry" during the press night performance of "Death of the Salesman" (To 5/18). This is unusual since the tears flowed many times during previous productions of this classic play and movie. So what happened? First of all in this burial scene, Nancy Robinette ended the scene with violent crying. After giving the appropriate somber eulogy, her job as an actress is to take the audience to the top of the feeling and then pull back...let the audience do the crying. As for fine actor, Rick Foucheux, he patterned all of his actions and emotions and body language so perfectly as Willy that there was a lack of spontaneity so he bordered all night on insincerity. He also ranted and railed too often so that intereactions with the other characters became too physical and unacceptable as they lacked emotional undertones. Willy is a broken man so he has to be into a balanced spiritual dying. Jeremy S. Holm played the son, Biff, like a reincarnated Marlon Brando which separated him from this tight knit family especially since he was the only family member to use a quasi-Brooklyn accent. Only Tim Getman, as son Happy, carried a wonderful characterization throughout the show...he was excellent. And the finest scene of the play was the Willy/Howard Wagner (Stephen F. Schmidt) scene which was totally powerful and most convincing for both actors. Mr. Foucheux should work backwards from there. The set was disappointing as the boys are to be upstairs...not in the basement...there is a definite symbolic reason for them to be higher up...this is not "Lower Depths". At least indicate that they are in a same-floor wing of the house. There were so many weaknesses in the directing by Timothy Bond regarding character placements and misplacements and stage focus and probably actor misinterpretations. Particularly the strange entrances and inappropriate exits and vice versa gave a confusing picture of the layout of the house. If you have never seen another production of this show you are encouraged to experience this most innovative play of the last century with its excellent messages about family living and the cruelty of a capitalist society. (Reviewed by Bob Anthony)
*****
The Washington Ballet gave a stunning triple treat with its trilogy program at Harman Hall titled "High Lonesome" (To 4/6) after its major and new rockabilly dance. Were the locals being challenged by American Ballet visiting star, David Hallberg, who, by the way, was liquid beauty in his "phlegmatic" role in "The Four Temperaments"? Regardless, the company has never been more enthusiatic with a stunning flow of intricate dance movements. There was nary a strained movement throughout even as the male dancers most effortlessly lifted their partners. And all of the dancers poured emotion into each role...the tops being Mr. Hallberg and Jonathan Jordan for the men and Erin Mahoney-Du for the women. "The Four Temperaments" which started the program would have been given a thumbs up sign by Mr. Balanchine himself and the excited audience could not wait for the final movement as there were bursts of applause throughout. The final dance was the well liked "Fives" by the late TWB choreographer Choo-San Goh. It had all of the flavor of the exotic oriental world with flaming red leotards and hot colored lights following the dancers around the stage. The gem of the evening was, of course, "High Lonesome". Not unlike a Paul Taylor piece...but better...it had angular dance positions and flops appropriate for the rockabilly tunes with most lyrics by clever Beck David Hansen. Yet, there was beautifully lyric dancing by Erin Mahoney-Du to break up the raucous by-playing by Jonathan Jordan, Jared Nelson, Brianne Bland and Zachary Hackstock. No doubt this number will be kept in the rep for many years to come. It has lots of appeal for youngsters and would be a good introduction to the art of ballet and dance so take them along to the theater. (Reviewed by Bob Anthony)
*****
Smart...energetic...touching..."The History Boys" (To 5/4) has already garnered its share of awards but the Studio theatre's production is likely to earn some more for this stellar cast. Floyd King is the charismatic veteran teacher whose philosophy of life and learning veer from the straight and narrow path espoused by the headmaster of the British boys' school played with true beaucratic fervor by James Slaughter. Simon Kendall is the young teacher hired to supplant him. Tana Hicken is excellent with her wise and witty discourses balancing the chaotic methods of one teacher and the systematic spin of the other. The eight boys...all promising young stars...move together through the classroom scenes bursting with the drive and vitality and the hope of the young. Designer Russell Metheny provided a simple workable set that is modern and sleek which allows for the smooth flow between the scenes. Coach Elizabeth van den Berg insured that the dialect was true to the play's setting while nevertheless clear to understand...a feat when considering the quick pace of the dialogue, the poetic recitals, and the one French-speaking classroom scene. Bottom line: The play offers thoughtful comment on what place poertry and history fit into both the school curriculum and real life while this outstanding cast conveys both the intellectual brilliance of our culture and the complexity of human relationships. It adds up to a total theatrical experience not to be missed. (Reviewed by Celia Sharpe)
****8
Columbia's Rep Stage is presenting "Thom Pain...based on nothing" (4/13) which was written by Will Eno and performed by Timothy Andres Pabon while directed by Lee Mikeska Gardner. This absurdist work revealed the mental ramblings of a man who appears to be totally obsessed with himself, his thoughts and his sex. There is no such thing as a conversation as it is merely a monologue about life, love, sex and self. The character has no interest in others. There are questions but no concern for others' answers or thoughts. The work itself was vaguely interesting but the performance was quite good. Mr. Pabon did a good deal to grab the audience's attention. He flirted, moved about, raised alarm and did whatever necessary to keep the pace moving. In less capable hands this could well have been a total disaster. Ms. Gardner must also be credited for her work in keeping the audience involved with her direction. But was it really worth the 90 minutes listening to this blather? This is a question one asks when leaving the theater. There were mixed audience reactions as some appeared to enjoy the humor but others were turned off. One gentleman walked out early disgusted with the rude profantity. Yes, there is profanity...maybe it was added to shock the audience into listening...maybe it was just obnoxious. All in all, the verbal diarrhea was rather self absorbed and basically about nothing suggested in the advertizing. Yet the direction and acting were noteworthy. (Reviewed by Nancy McCord)
*****
The Constellation Theatre Company is growing in its dictum to provide most entertaining "message" plays to the Washington theater audience. Currently they are presenting a deft and darling production of "The Good Woman of Setzuan" (To 4/20) at the Clark Street Playhouse. Very creative director Allison Arkell Stockman wisely selects only aspects of Brecht's epic theater style so the audience does not become as alienated from this modern parable regarding morals and ethics as three gods return to earth to search for any honest person...which turns out to be a female prostitute. So the final scene in which the actors appear as themselves to question the judgement of the audience regarding the effectiveness of the play is a total theatrical gem. It is so nice that a satisfactory budget allowed for a full cast of 20 actors to tell this tale...one tires of so much of the double and triple casting of roles that limits the "suspension of disbelief" in so many current stage productions. Katie Atkinson was slow to start as she lacked a certain innocence of Shen Te...the prostitute... which required her to move into the twin role of a stingy "cousin". But she totally blossomed as the play progressed and developed a strong empathy from the most appreciative audience. Ashley Ivey played the narrator/water seller in most dramatic and dynamic fashion as he tried to accommodate the three gods who appeared in his small village. And Lisa Lias is becoming such a skilled comic actress who telegraphs inner as well as external humor with a knowing facial expression. The rest of the cast all seemed well suited to playing their major or minor roles. Joe Thornhill did a fine "barking order' bit as the policeman in a lesser role. Ms. Stockman made an extra special fine choice to have the three gods dressed like kabuki clowns to match their levels of religious and social naivete. And Yvette M. Ryan did wonders in costuming to present convincing poor townspeople. This is a most satisfying production and is a "must see" for the added creativity of this now-classic stage play. (Reviewed by Bob Anthony)
*****
Musical Program
Conductor Piotr Gajewski and the National Philharmonic opened their most recent concert at Strathmore with a sensitive rendition of the energetic Mozart "Symphony No.35 in D Major" ("Haffner"). Then award winning pianist Brian Ganz noted as a "model chamber musician" and the National Philharmonic were an ideal combination to perform the composer's "Concert for Piano and Orchestra No. 23 in A Major". Mozart wrote that this piece was meant to appeal to both the connosseur and the less learned. Ganz was an excellent performer who not only played to perfection but shared the music with a contagious joyfulness that fulfilled Mozart's intentions. All such distinctions between the performer and the audience were put aside in the dreamy adagio which made one forget all other music. The final selection was Bizet's "Symphony in C Major" which is so rich that one marvels at the fact that it was not found and performed until 80 years after the 17 year old Bizet wrote it. Its adagio with its passage of solo oboe is particularly lovely. The choice of these two adagios left a wish for a future concert of all adagios by this fine group of musicians. (Reviewed by Celia Sharpe)
*****
The Embassy Series presented a real winner at the Embassy of the Federal Republic of Germany with its all Brahms program on the 175th anniversary of his birth. Two major works of the composer ...the clarinet and the piano quintet...were ably performed by musicians under the direction of violinist Peter Sirotin. The "Clarinet Quintet in B minor" has a slightly autumnal quality due to the deep tones of the clarinet and in this presentation the dying outburst at the conclusion was most startling. The "Piano Quintet in F minor" is one of the greatest piano quintets of the 19th century. Ya-Ting Chang played the piano part superbly with great panache and a steady development. Under her hands it was proof that Brahms was both warmhearted and full-blooded. Yet Brahms allowed the other four instruments to contribute melodic themes. During the third movement a grand triumphal march seemed destined to struggle to achieve its destiny. It was finally accomplished by this quintet. This Embassy Series truly makes Washington such an international city. (Reviewed by Stephen Neal Dennis)
*****
To celebrate its 20th birthday, the Peabody Renaissance Ensemble trekked to the Church of the Epiphany in DC for an immensely enjoyable two hours of renaissance music from the 17th century that thrilled the unfortunately too small Washington audience. Under the title of "O Lusty May!" this group of 15 singers and period instrumentalists covered Italian, French, Spanish and Latin compositions from Nicolas Vallet through Monteverdi. They even added a couple of comic songs of "Three Blind Mice" and "The Marriage of Frogge and Mouse". Director Mark Cudek on the faculty at Peabody Institute in Baltimore accomplished wonderful performances as he clevely repositioned the singers for each selection to achieve a sterling balance of sound. A double plus was achieved by the countertenor of Peter Lee who, unlike the usual countertenor, show tremendous strength of sound no doubt due to huge breath support from his sturdy body type. He occasionally lost legato but his range was amazing. Some unusual period instruments played included krummhorn, cittern, shawm, and colascione. Jacob Lodico excelled with the number of instruments with which he was expert. This group should consider more visits to DC as they are a complete joy...or one can catch them periodically in Baltimore...just check with Peabody! (Reviewed by Bob Anthony)
*****
"Carmina Burana" is not performed frequently since it demands a very large chorus which it had with the Baltimore Symphony at Strathmore but this production was stellar due to the three soloists. Baritone Leon Williams brought both a distinguished voice and a surprising amount of acting ability especially as the drunken secular abbot. Tenor Gordon Gletz, recently in WNO's "Sophie's Choice", was very impressive as the swan with the melancholy song ...sadly it was his only solo all evening. Soprano Maria Kanyova brought a splendidly suggestive sound to her sections particularly in the "Court of Love". This piece assembled by Orff and set to spectacularly emphatic music was a BSO success. The only possible criticism was that the orchestra swelled too much mostly with the percussion effects. This evening opened with Samuel Barber's "Medea's Dance of Vengeance" distilled from a ballet suite for Martha Graham...Barber dwelled often on the Medea theme in his works and sometimes the Orff piece does include violent dancing in productions. (Reviewed by Stephen Neal Dennis)
*****
Five musicians associated with the Levine School of Music gathered at the Atlas Theater to honor Brahms' birthday by presenting a veritable waterfall of the composer's music. The featured "Piano Quintet in F minor" was ample reason that demonstrated his musical genius. Pianist Ralitza Pacheva played the piano in the three selections. Along with four musicians...Pablo Saelzer (viola), Valery Popov (cello), Mary Findley (violin) and Susan Fuller (violin), Ms. Pacheva, who exhibited a tendency toward rather exaggerated gestures at the keyboard for the first two selections, performed confidently and maintained the steady emotional thrust of the overall featured composition well. She was always in firm control of the flow of music. Sometimes she lacked confidence and capability as she did earlier in the evening. To be able to play in tandem with four other musicians is very demanding however...especially in a Brahms composition. Yet, this group of five musicians were well matched in abilites and they gave a noble vigor to a piece legendary for its lushly chromatic romanticism. Vasily Popov, trained in St. Petersburg, played with imagination and easily dominated in his sonata duet with his wife. Mary Findley gave grace and style to her duet in the opening selection. One wonders why this event was planned for the Atlas since only about 40 people filled this huge theater...a smaller venue would have been preferred. (Reviewed by Stephen Neal Dennis)
*****
Many popular music superstars got their start singing in churches...and a recent concert by the Immaculate Conception Church choir suggests there are still more stars out there ready to take to the big stage. This choir has only 19 singers who do wonders with songs from opera to pop. Father Joseph A. Wysocki, accompanied by Everett P Williams, directed this fine choir with spiritually themed songs from traditional gospel to Bach to Lehar. Exploding with talent, energy and postive vibes, this choir blended diverse vocal skills into one smooth sound. They have a new cd "Rock-a-my-soul". (Reviewed by Celia Sharpe)
*****
The Choral Arts Society of Washington presented "Pure A Capella" at the National Presbyterian Church which gave a varied selection of vocal music. John Tavener's "Nunc Dimittis" and William Byrd's "Haec Dies" were not the most impressively beautiful but they stood apart as a sung text so there was not repeated phrases for emphases or variations. By contrast, several of the other works particularly Gorecki's "Totus Tuus" made ample use of what must be termed repetitive intensity. Some words and phrases became trancelike and it moved the audience into spiritual grace. The most fascinating piece was Franco's "Oh, Senora" a Mexican mid-16th century composition sung in Nahuatl language. It used syncopated rhythms to create a sense of excitement and adoration. The expected highpoint of the concert was Kentaro Sato's "Missa pro Pace" and it was received extremely well by the audience. It is quite beautiful in places but seem to lack much inner development. (Reviewed by Stephen Neal Dennis)
*****
The Maryland Opera Studio of the University of Maryland School of Music presented "Cosi Fan Tutti" which has a somewhat dubious plot of one of the most comic stories in opera. Don Alfonso was sung with worldly wisdom by Andrew Adelsberger as he plotted the story of deception. His foils were baritone Eric C. Black and tenor Adam Hall who were to pretend to be middle easterners to test the love of soprano Claire Kuttler and mezzo Jenna Lebherz. All were in fine body work and singing. The character deceiver, Despina, was played by Jenny Chen who sparkled as the clever maid who made more social sense than anyone. Director Leon Major included some wonderful family and restaurant scenes for fine transitions. MishaKachman did wonder in creating a hotel veranda and costumer David O. Roberts dressed every character with nostalgic elegance. This was a solid production that stands on par with any professional company...and the box office wondrously sells tickets for much less cost. (Reviewed by Celia Sharpe)
*****
The Met simulcast presented a new version of Donizetti's "La Fille du Regiment" with such dazzling superstars as Natalie Dessay and Juan Diego Florez. Well...in a word...it was great! Dessay is an exemplar of multi-tasking as she handled the arduous coloratura role with impeccable comic timing while handling lots of props for domestic activities...think Lucille Ball singing bel canto. Florez effortlessly tosses out the remarkable high c's...and he recently made music history by turning out 18 of them. He and Dessay made beautiful music with a chemistry that was most exciting. The cast also included fine work by Felicity Palmer, Alessandro Corebelli, Donald Maxwell and legendary actress, Zoe Caldwell as the Dutchess. This was the last of the Met simulcasts for this season. (Reviewed by Celia Sharpe)
*****
The Washington Savoyards do a nice change of pace by presenting "Man of La Mancha" (To 4/27). It is a solid hit throughout. The technicals were perfect as was the fine acting which told the story of Cervantes and his fantasies. Shawn Burke-Storer respectfully conducted the fine score and, when the orchestra soared, the "impossible dream" was realized. Elizabeth McFadden provided a perfect underground prison cell with the ominous mechanical staircase. Stefan Sittig gave wonderful sound and fury to the choreography...especially the fight and rape scene. Eleanor Dicks' costumes were excellent setting up time and place. And director Colin Hovde provided matchless stage pictures to move the sensitive story along. Sixteen singing actors were well rehearsed and provided powerful interpretations even when challenged with some multi-characterizations. Scott Sedar as LaMancha was totally thrilling in acting and in singing. It was an award winning performance with powerful intonations and intentions. Julie K. Wolf was weak of voice in her higher range as Aldonza but managed sizeable strength in her lower range so her description of her birth and life was shatteringly effective... but it occurred late in the musical. Diego Prieto as Sancho is a wonderful stage comedian and should get mucho roles in the future. And he had a great naturalness in his solos. And one left the theater with hope and inspiration for a brighter future for mankind. This is a highly recommended production on a par with Broadway productions. (Reviewed by Bob Anthony)
*****
Conductor Yan Pascal Tortelier opened the Baltimore Symphony Orchestra at Strathmore with Yardumian's "Armenian Suite". It opened with a brilliant trumpet fanfare and closed with an almost equally brilliant finale. The second movement seemed rather lackluster with dance movements not unlike Borodin. It is not surprising that the composition as a whole has failed to become a crowd pleaser although the BSO trumpet players excelled in this piece. Next 20-year old pianist Yuja Wang brought great determination to her piano playing and gave an impressive performance to Prokofiev's "Piano Concerto No. I in D-flat Major". Unfortunately the orchestra was too massive and too loud behind her. One hopes that she is more demanding in backup in her future playing which says "memorable". After intermission, the BSO presented Berlioz's "Symphonie Fantastique" which seems to be the favorite of conductor Tortelier. But a wiser man might have chosen something a little less over-the-top to follow Prokofiev. The first three movements tonight were lethargic and surprisingly unfocused and it wasn't until the full powers of the BSO percussion section were called into play did the ensemble seem fully engaged. (Reviewed by Stephen Neal Dennis)
*****
Under the auspices of the Washington Performing Arts Society, Leif Ove Andsnes presented one of the finest piano concerts at Strathmore for Washington audiences since October's Murray Perahia. This concert was in some ways atypical as it seemed to be quite personal to this pianist and he satisfies at a very advanced level without having to use theatrical gestures needed to dazzle an audience. He performs a wide range of composers and his encores of Scarlatti may indicate a future cd of that composer. He started with Bach, then Beethoven, then Sibelius, then Grieg and ended with eleven of the incomparable delicate "Preludes" by Debussy. Throughout he has a revelaing touch that invariably emphasizes the internal emotional components of each selection so he get a taspestry of sound that never lacks total coherence. (Reviewed by Stephen Neal Dennis)
*****
The Freer Gallery is one of the perfect venues in DC to hear chamber music and the Shanghai Quartet presented an invigorating concert. Chen Yi's string quartet for mixed choir and string quartet, "From the Path of Beauty", was a daunting piece of four movements carved by the composer from seven movements. It defined Chinese musical traditions and styles. The third movement was beautifully melodic. The concert opened with Hayden's "String Quartet in G Major" which was played as if it were choral music for multiple voices as proclaimed by extraordinary string instruments. The concert concluded with a Beethoven string quartet of emotional beauty. The third movement was particularly intense and might even stand alone. (Reviewed by Stephen Neal Dennis)
*****
The wonderful Virginia Opera Company's "Lucia Di Lammermoor" at George Mason Center of the Arts almost turned into a "bomb" during the first act. Baritone Sebastian Catana (Enrico) had a troubling voice...it was announced the he had a cold but would trust the audience to accept vocal flaws which were many...and Manon Strauss Evrard (Lucia) and Israel Lozano had no lover's magic as they secretly met by the fountain...and the barren trees set seemed confused regarding placement and made terrible noises in its tracks. Suddenly in the second act, Mr. Catana lost his voice and suddenly from the pit came the lovely baritone of David Pershall who finished the opera to riotous applause from the audience as Mr. Catana lip synched. And suddenly the opera came alive with magnificent singing and acting by the principals...even the chorus gave solid vocal support during the tragic turn of events. And Mr. Lozano was superb of voice and acting in the final scene in which he commits suicide to join Lucia in "heaven". Ms. Evrard gained complete sympathy from the audience particularly in the long mad scene which is probably the most difficult aria in opera other than the Queen of the Night aria in range requirements. Yet, there was a hollowness and wrobble in her voice that was perfect in this dramatic sequence that did not serve her well in the earlier scenes. Bass baritone Christian Van Horn was probably the finest voice during this opera with huge sounds that were perfectly clipped when demanded yet full of legato in more emotional scenes. Gregorio Gonzalez was perfect as the bridegroom full of elegant singing with the right touch of the dramatic. Others in the cast were Brandon Wood and Amanda Ingram who flowed easily in and out of the action. The lights by Chris Kittrell gets the kudos for the excellent pin pointed and/or expansive light plot. Director dorothy Danner again provided some superb creative touches particularly with the ending in which the dead bride Lucia appears after death in the graveyard beckoning her lover to follow her. Joseph Walsh conducted rather than the audience favorite Peter Mark and he was slow in picking up cues and following just a mite too late for the singers during the first act. So it looked like the singers were at fault. Again, there was great blending particularly in the mad scene. So the opera overcame a faulty start but blazed to glory by the end. (Reviewed by Bob Anthony)
*****
The Metro Stage in Alexandria is presenting a cabaret show with full production numbers with "The Stephen Schwartz Project" (To 5/25). It was finely directed and choreographed by Michael J. Bobbitt with a most talented song and dance group of nine youngish actors. The most exciting number was Felicia Curry doing "Lion Tamer" from this composer's "The Magic Show" with lots of pizzazz. This young lady is a constant wunderkind with her exciting song and dance routines. Others in the cast are Florrie Bagel, Priscilla Cuellar, Kerry Deitrick, Benjamin Horen, Amber Moorer, Jobari Parker-Namdar, Andrew Sonntag and Clif Walker. One wonders why the actors were miked in this intimate theater as they all had strong enough voices to fill the theater. The best songs therefore were the quieter love themed ones. And, there didn't seem to be a need for such a strong orchestra quintet...one keyboard would have been sufficient. One also wonders why most of the song were quite obscure other than the ones from "Godspell" which, by the way, was cutely sung in different languages. Overall, it was a most pleasant romp through some delightful lyrics and nicely fits into the category of an excellent family show so this Alexandria theater should make the city most proud. (Reviewed by Bob Anthony)
*****
It is difficult to conceive of a musical group which might sing High Renaissance music more ardently or more beautifully in the full density of its almost mathematical counterpoint than the group "Chantry" as they did at St. Paul's Church on K Street. The program was "The Full Monte, Music of Philippe de Monte". The church is acoutically an ideal setting for such a choral group. The group is made up of 10 men and 5 women, director David Taylor, and Stanley Curtis as a cornetto soloist. De Monte was once considered one of the three greatest composers of the 16th century. He spent most of his life in royal courts. His music was never music for the man in the street...but always music for some of the most sophisticated and educated "European" minds in de Monte's century. "Chantry" is clearly one of the glories of the early music communities in Washington which annually grows more visible and now attracts envious attention from other cities. (Reviewed by Stephen Neal Dennis)
*****
Robert Shafer provided a triumphant concert at Strathmore with his four separate choral groups performing raputurously the multi-part antiphonal harmonies of Monteverdi's "Marian Vespers of 1610". They performed under the guise of the City Choir of Washington. For those who love the music of Gabrielli and his contemporaries there can hardly be too much Renaissance liturgical music. Even with the youngest groups, the Blue Ridge Choristers and the Children's Chorus of Washington were well trained in technique. Shafer took advantage of the hall as he placed the singers so that the natural antiphonal characteristics of Monteverdi's music was intensified. There was great balance between the voices and the instruments. These "Vespers" have a complicated history and it is far from certain that Monteverdi intended the entire work to be performed at one time but no one in this audience objected. (Reviewed by Stephen Neal Dennis)
*****
The Washington Concert Opera presented Rossini's "Bianca e Falliero". It was announced that the mezzo Vivica Genaux was suffering from an allergy and as often happens she proved to be magnificent. However, then the lights in the auditorium failed so it took the audience a while to adjust to a performance. It became clear quickly that the reason that this opera went into obscurity may have been that Rossini does not move things quickly enough in the long first act. The music is glorious and gives the singers the opportunity to well demonstrate their talents. The second act did move much more quickly and effectively. The basic story is again one of a young girl who has fallen in love with the wrong man... she has an angry father since she won't marry the selected mate for her. The cast was very capable musically with soprano Anna Christy as Bianca and baritone Daniel Mobbs as Capellio. Both showed skilled acting as well. Vivica Genaux might have been more effective in the acting if she wore trousers for this "pants role". Charles Workman provided a fine tenor. This critic missed the grandeur of sets and costumes particularly in such a period piece. (Reviewed by Bob Anthony)
*****
Imagination Stage comes through with a wonderful winner with its production of Karen Zacarias' "Looking for Roberto Clemente" (To 6/1). Who would have thought that a fine musical could be written about the late star icon of the Pittsburgh Pirates? The basic story is of a little league team which is competing for a trophy with the additional prize of a visit with Mr. Clemente and a year's supply of a soft drink. Yes, these seven superb actors were totally energized in song and in athletic showmanship to wow the audience throughout. So the acting, the script, the lyrics and the music were superiorly developed so that one imagines that this winning play could be at a theater on 42nd Street. Newcomer Derek Manson was the audience favorite and he gave every ounce of his amazing talent for this performance. So, therefore, the other six actors (Zack Colonna, JP Illarramendi, Don Kenneth Mason, Erika Rose, Matthew Schleigh and Chris Wilson) gave superior support. There were some gem comments about Pittsburgh and the Pirates...remember Rosey Rosewell whose "open the window Aunt Minnie" confirmed a home run ball. And remember the "babuska" (old ladies) days at the Forbes Field. Oh, what wonderful memories...so all Pittsburghers and Pirate fans and, now, Nationals fans should not miss this wonderful baseball musical. Deborah Wicks La Puma offered perfect orchestration. And the dream baseball field set was constructed by Elizabeth Jenkins McFadden. (Reviewed by Bob Anthony)
*****
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Reviews Done Out of Town
Bob Anthony covers six museums and one cabaret show in the greater Tampa, Florida area! No doubt the greatest thill is found in Sarasota with the Ringling Museum, the Circus Museum and the 56 room Ringling Venetian-Gothic mansion...all on a beautifully landscaped multi-acres. Mrs. Ringling added the 1000 rose bushes that is centrally placed on the estate. The Art Museum is a wonderment with its 14th through 17th century baroque and gothic paintings. One is aesthetically startled at the entrance with four huge Rubens that is a prelude to a huge collection of first rate paintings. They are mostly religious as is seen in the Rubens' "Abraham and Melchizadek" which depicts that "bread and wine" were the first thanks giving. So one continues through the collection seeing Granacci, Veronese, Giordano, Rembrant and superior old masters...the favorite was Lodovico David's "Judgement of Paris". One continues through American artists, Italian painters, Spanish painters...the favorite here being Murillo's "St. Joseph and Child". A special show is American Jacob Lawrence's "Creation Series" and "Toussaint". And the museum continues with master drawings of which one recognizes Tiepolo, West, Boucher and Fragonard. Wonderment continues at the Circus Museum that covers the whole history of the circuses in this country however the grand prize is a panorama...it took 60 years to build... of a miniature three ring circus with all of the animals and circus acts to dazzle the imagination. There is a separate section of the parade of miniatures...horses, clowns and people that paraded through each town towards the circus tent. There is enough here to keep both children and adults enthralled for many hours.
St. Petersburg also was amazing that such a moderate sized city could offer three fine museums for art lovers. It was the last day for the "Art in Bloom" ... a yearly feature at the Museum of Fine Arts...every gallery had magnificent floral displays. This year it seemed to be encouraged by American artist Christopher Still's "Orchids" and Elisabeth-Louise Vigee-Lebrun's "Julie Lebrun as Flora, 1799". The galleries are solid with fine selections from all of the art movements plus there was a magnificent pre-Columbian collection, a Mughal collection, and a Chinese collection. Currently they are showing the Hazel Hough collection in the newly named wing. Rouault's "Master Arthur" is the center piece of her collection.
The Salvador Dali collection currently has "Dali and Film" (To 6/1) which confirms that the artist was quite involved with Hitchcock and Disney in some of the dream sequences in their movies. Of course, we all know that he was involved with Bunuel in film noir. The museum has a fine collection of the early, middle and old age works by this amazingly creative genius who basically started the surrealism movement. The melting clocks are everywhere it seems but the most interesting work was his "Portrait of Lawrence Olivier in the role of Richard III." But for lovers of surrealism...this is a dream museum.
The Florida International Museum has the Vatican Art and History Exhibit (To 5/11) which is showing one of the largest collection of significant objects from the Eternal City ever to tour North America. The items come from St. Peter's, the Vatican Museum and the Swiss Guard. There is even a fragment of a bone of St. Peter which shows the in-depth coverage of the long line of popes in the Catholic Church. One section has the scaffolding in miniature that was used by Michelangelo in painting the Sistine Chapel. The exhibit is quite honest in telling of the successes and traumas that has occurred over the centuries ...of how hundreds of workers and Swiss Guards were massacre by King Charles as one pope just managed to use an underground passageway to escape from the bloodshed. There is a huge gift shop at the end of the tour with every conceivable religious present. No one will be disappointed with this display.
Tampa was the weakest regarding art museums, however its Museum of Fine Art is being reconstructed and its collection is on tour. The University of South Florida has a rather small museum and currently has its Annual Juried USF Student Exhibiton. This year the juror was Anne Pasternak who is the artistic director of Creative Time in New York. Tops in the show were Elizabeth Valentine's "Flag Labels" and Nancy Maurer's "Crucifixion". The main interest here is graphic arts and there is a separate department in the university for that. One is impressed with the integration of the arts curriculum by all of the related arts departments of the university...not often found in our academia. There is a program of giving residence grants to current well known contemporary artists (Rauchenberg, etc) to offer inspiration to developing-talent students.
The Henry B. Plant Museum sits spectacularly on the bay with its silvered minarets and moorish interiors. It was orginally a hotel built by a railroad baron and it played an important role in the Spanish American War as Clara Barton and even Winston Churchill resided there. Plus many military rested to and from the war. Today one half is a museum with room displayed as they were in olden days. The University of Tampa has taken over the other half of this huge edifice and it is rather sad to see mable columns posted with fraternity and sorority and non-pledgers' social announcements. There is talk of giving the whole building over to the students and faculty and moving the museum onto another site...pity number 2!
The Tampa Bay Performing Arts Center is presenting "Hats" (To 4/27) inspiredby the Red Hat Society. The story is of a young lady about to celebrate her 50th birthday along with the trauma of reaching an "0" age. The show is done in cabaret style with seven most talented ladies: Eileen Koteles, Carrie SaLoutos, Wendy Starkand, Marguerite Bennett, Lynne Locher, Nadeen Holloway and Jean Vanier. The songs are both happy and poignant and the audience was enthusiastic in their applause after each show-stopping number...particularly the ending resolution done with fantastic costumes and, of course, huge red hats. (Reviewed by Bob Anthony)
*****
Ever planned a trip and up-until-the-last-minute, you wanted to cancel. I should have known to cancel since all of the dozens of places for which I requested press packets never responded...except the Archeological Museum in Mexico City. And every hour after arriving in the hectic airport (three hours to go through passport control) I wished to get on the next flight back. This was followed by a failed escort service and being scheduled in a first class hotel for a room being cleaned. And they never removed me from the first computer listing so I missed wake up calls and outside calls. And getting into taxis the first response was 100 pesos (ten dollars) before even asking for the target address which meant additional fees. Ever heard of third world countries...chalk up Mexico City to fourth or fifth world cities! The pickings were sparce for viewing the art world. Everywhere one hears Diego Rivera and Frida Kahlo ad naseum although one has to admit that the murals at the central presidential palace by Rivera should be considered one of the seven wonders of the art world. They took 20 years to complete and they are immense as they go through the history of Mexico from the Aztecs to Trotsky with amazing details. It is the must-see in this capital city. The Archeological Museum is also wondrous as it shows the same historical and cultural development by regions in the country. The Mayan exhibit is amazing particularly with the huge palacia wall that is not unlike the huge pieces at the Pergamon in East Berlin. The National Art Museum showed all of the classic paintings which were mostly religous. The exceptional ones were Jose Juarez's "St. Anne", "St. Laurence (being burned alive)"; Miguel Cabrero "The Virgin at the Apolcalypse"; and Santiago Rebull "The Flight of Cain". Some early 20th century pieces were highlighted by Angel Zarrago's "Charles Lindberg". A trip to the Palacio de Bella Arts again showed tremendous murals by Diego Rivera with the gift shop full of ...yep...Frida Kahlo. The evening show of the Ballet Folklorica was superb with many of the dances recently reviewed at the GMU Center for the Arts. A newer one was the meeting and wedding of a young man and woman which was strikingly beautiful. The costuming again is the finest of any performance group in the world. The Tiffany front curtain was admirable and the rest of the marbled interior was simply unbelievable. Yes, it was great art all around but the tourist accommodations are pitiful at times. (Reviewed by Bob Anthony)
*****
Houston, Texas was fine as it provided a sunny respite against the storms crossing the upper U.S.A. so the weather and the Christmas spirit together put one in high spirits for museum and theater going. The Menil Collection gives one a great look at the surrealists as it includes all of the famous names from that art period...Ernst, Dali, Magritte, deChirico, Man Ray, Tanguy et al. At present, there is a separate gallery for "Witnesses to a Surrealist Vision" which shows primitive cultural items, mostly phallic symbols, that inspired many of these famous painters. The deMenils also collected the cubists as well as ancient Greco-Roman relics, religous icons and a few impressionists. The museum is very proud of the Rothko chapel which lies betwixt it and St. Thomas University. It provides the most peaceful spot of any on the earth. There is an extension of the collection with the Don Flavin Installation at nearby Richmond Hall. Both side of the alley-ed walls have neon strips of lighting so one gets most excited as one moves through the large one room exhibit hall.
The acting at the Alley Theater is superb as it presents its money-maker...a stupendous Michael Wilson adaptation of Dickens' "Christmas Carol". The opening had totally white robed spirits whirling around the stage that lets one know that a strong, mysterious story is to follow. It is also appropriately titled "A Ghost Story of Christmas". All of the Dickens' tale is told but here it always borders on the supernatural as the dead characters come from below stage covered with chains, etc. Yet is it calm enough not to frighten the children in the audience as the live characters all are so charmingly acted. No doubt, this production will be a yearly hit for the Alley.
The Houston Revels (see Washington Revels in Theater and Dance reviews) this year presented "An American Celebration" which centered mostly on Appalachian music and dance. There were American Indian sections and southern gospel singing (which needed more volume) but they were secondary to looking at the mountain folks in their daily activities which most often is accompanied by song. The children's chorus was totally delightful...as always under the fine direction of Beth Sanford...particularly when they went through their standing, kneeling and floor pacing in "The Old Grey Goose is Dead". There is audience participation for Revels and the audience were well trained to join in at the appropriate spots. Some of the music was accompanied by fiddle sticks and spooning and other forms of rhythmic soundings. Suzannah Park was the star of the production with her strong ethnic-sounding voice and strong emotional overlay. If one closed their eyes, they were transported into a wonderland of mountain greenery. It is so wonderful to experience these Revels' productions which focus on group customs around the world!
The Houston Museum of Fine Arts has a superb traveling show (only other venue is the National Gallery of London) of the mostly portraits of Pompeo Batoni who painted during the latter part of the 18th century. He is not merely a portrait painter as his paintings always carry a lot of movement around the subjects pictured...a most difficult technique which one only gets an inkling from in the works of Michelangelo. This show has 60 highly prized paintings that show wonderful craftmanship and outstanding sensitivity in depicting the subjects of the portraits. The MFAH has a showing of the arts of Korea which is a precursor to its planned expansion of permanent galleries for the arts of Asia. This particular show covers gold objects from the Silla Kingdom; ceramics which is most representative of Korean arts; Bhuddist art; and some contemporary art. There is also a showing of "Oudry's Painted Menagerie: Portraits of Exotic Animals" which title explains the contents of the show. Oudry was considered one of the finest animal painter of his time...first half of Louis XV's reign. The catalogue of Batoni would make a superb gift for the coffee table. It is truly amazing and most moving.
The Houston Museum of Natural Science still looks like it is searching for a permanent collection...the few dinosaurs and animal skeletons looks meager when compared with the recent opening of the Carnegie Museum in Pittsburgh with its 19 dinosaur specimens. (See Pittsburgh report below). Presently there is a "Treasures from Shanghai" which again doesn't fulfill its promise as there are few items that are interesting. The scroll done with tiny stitching is the finest item. This museum also has the traveling show of "Lucy" which is a world premiere of this showing of artifacts from Ethiopia. Lots of items from the "cradle of mankind" and brilliantly displayed. There is also "Lizards and Snakes: Alive!" which pleases the youngsters more than the oldsters.
The final stop was to see the Houston Ballet and their very fine dance production of "The Nutcracker". The scenery and costumes by Desmond Heeley are probably the most outstanding ever seen in American theaters. The choreography by Ben Stevenson is a mix of classical Russian and innovative Paul Taylor. The dancing was totally sychronized and offered very little pizzazz for the audience except for the superb Russian solo dancer and the two Chinese dancers (not named in program). The lead male dancers showed no spectacular leaps and bounds. And the female dancers were fairly routine. So the scenery and costumes were the star of this particular performance. The premiere dancers of the company were not in this specific show. Yet, the little princessly dressed girls were awed as they realized their romantic dreams with the charming prince and "cinderella-like" girl. (Reviewed by Bob Anthony)
*****
First off, Pittsburgh is "green" without the smokestacks and acid rains from the chemical plants. Yes, the hillsides are alive with greenery again although the valleys lack the fiery lights at night thrown off by the line of steel mills along the river roadways. The big museum show now is the "Dinosaurs In Their Time" at the Carnegie Museum of Natural History. This museum has always been foremost in digging up dinosaur bones
