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“All the world's a stage, and most of us are desperately unrehearsed.”    --Irish playwright Sean O'Casey

Additional Theater & Music Perfomances and other activities on the DCdigest Calendar of Upcoming Events

Noises Off is Definitely On!

by David Hoffman

Karl Marx once famously wrote that "history repeats itself, first time as tragedy, second time as farce."

Farce. The term encompasses a variety of sometimes elusive meanings. What constitutes a farce in real life or history is not always the same as what we see on stage.

Consider the farce currently being staged at Keegan Theatre near Dupont Circle: Michael Frayn's Noises Off. This production is a reprise of the original Keegan production from 2010, a splendid remounting of Frayn’s 1982 London production, directed again this time by Keegan artistic director Mark Rhea. The current run is set to close on September 8. By all means, see it!

The Keegan troupe tears up the stage with this comic whirlwind, dazzling in its tour de farce. They chew the comedic scenery and then chomp on the stagy drapes. In classic farcical fashion, multiple doors slam, identities are confused, and hilarity ensues.

Nothing is left untouched on stage; everything collapses into a well-blocked mess. Actions turn inside out and upside down, and everyone falls flat on their pratfalls. Noises Off, told as a play within a play, flashes its pandering pants-down bum with wicked glee and a twinkle in the eye.

Meanwhile, the cast is caught up in an increasingly elusive quest for a tray of sardines. Yes, sardines. Don’t ask. You literally have to see the sardines appear, disappear, and reappear to grasp the ultimate meaning of farce on stage. Add to that the blur of absurdist action, where an axe handle and a whiskey bottle become part of the mise-en-scène. Again, don’t ask. Just watch how brilliantly Rhea stages and choreographs everything until it converges into a deliciously demented denouement. But does farce on stage ever really make sense? Only in a funhouse circus way.

Noises Off, according to Frayn himself, refers to theatrical directions indicating a sound from offstage that predicts something about to happen on stage. The play within the play is being rehearsed by a ragtag group of itinerant actors. The rehearsal, quel dommage, does not go well.

The play opens with the acting troupe at chaotic work, muttering and sputtering during a dress rehearsal of a slightly shabby sex romp titled Nothing On. Nothing good, of course, can come of this, and it immediately goes off the rails, never really getting back on track to the increasing dismay of everyone involved.

Noises Off could just as easily have been titled Knickers Off, as cast members often end up literally pants down while trying, with British diligence, to keep calm and carry on. Like that desperate desire to save face during a full-fledged meltdown, it adds to the force of the farce.

What follows are three acts and a revolving turntable stage, fiendishly crafted by Keegan scene designer Matthew Keenan to amplify the craziness into comic orbital fruition. The stage is first presented conventionally, then turned by Keenan to show the acting company backstage as they attempt, with dwindling success, to rehearse scenes from Nothing On. As the stage turns, it becomes a 360-degree launching pad for laughter at the growing lunacy. This lunacy reaches escape velocity and eventually topples into spinning silliness, with the souffle of stage antics collapsing into magnificently chaotic comedic catastrophe.

Let’s talk about the tremendously talented cast. Among the dazed and demented troupe trying to complete the rehearsal is the Nothing On leading man, Garry LeJeune, played with slapstick perfection by Ryan Sellers. His barely controlled rage during Act One bursts forth full tilt in Act Two. He’s having a hardly concealed fling with Dotty (yes, she’s dotty), played adroitly by Susan Marie Rhea. Dotty’s emotional state is shaky from the beginning — she falls to pieces constantly, wringing laughter from the enraptured audience. She’s also perpetually in pursuit of the ever-elusive tray of sardines. Meanwhile, veteran actor Timothy Lynch plays a veteran actor who’s fallen off the wagon, with bottles of booze constantly tempting him. He’s will-he-nil-he silly throughout.

A special standout is the character Brooke, portrayed with LOL bimbo brilliance by Brigid Wallace Harper. She’s got to be seen to be believed, as she dances provocatively in nothing more than hot pink babydoll PJs. Her high-pitched, squeaky voice and outrageous behavior make her a true kewpie doll on the make.

Noises Off was filmed in 1992 by the estimable Peter Bogdanovich, starring Carol Burnett, Michael Caine, Denholm Elliott, and Christopher Reeve. The film was a modest hit in its day and was co-authored by Frayn himself. Frayn, now nearly 90, is also known for serious plays like Copenhagen (1998), about Nazi efforts to build an atomic weapon during World War II, and Democracy (2003), about Willy Brandt’s decision to publicly acknowledge a Soviet spy within his staff. Frayn is also a highly successful novelist.

But undoubtedly, Noises Off is perhaps the most famous farce in theatrical history, perhaps only rivaled by Molière’s works from four centuries ago. A difficult standard to meet, but arguably Frayn clears the bar. The Keegan production makes it appear almost effortless. Bravo!

NOISES OFF runs thru September 8, 2024
Keegan Theater, 1742 Church St NW, Washington, DC 20036
(202) 265-3767  https://keegantheatre.com/portfolio/noises-off/

Soft Power : Hard truths

by David Hoffman 

Well, Reader, here it is, the single most positive, most ardent, most favorable review of a new theatrical production I have ever written or expect to write in the future.

Soft Power, now showing at Signature Theater, the jewel in the crown of Northern Virginia professional theater, was in previews on August 6, and is scheduled to run for just six weeks through September 15. Pray that its run is extended, which to this nearly swooning reviewer seems highly likely!

But the avid theatergoer is well advised to take no chances. Run, don't walk to the Shirlington Village box office. Be prepared, if necessary, to stand in line to get your tickets to see Soft Power before it closes. If you care about America in this challenging election year, don't expect to wear your "I voted" sticker on Election Day November 5th and have done enough. No. Seeing "Soft Power" before America votes definitely should be on your to-do-list.

So what is all the fuss about? Well, first, it’s about 85 minutes long with no intermission but chockablock with propulsive excitement and on stage incitement.  Second, this production is a wonderful wizardly whirlwind mix of comedy and drama, fantasia and exposition, hallucination and history, song and dance, politics and love story, dream and nightmare. Washington Post writer Richard Morgan described the play as a "Hell-and-back lampoon that nevertheless remains jaunty and joyful".

Oh, and it just slipped my mind. Hillary Clinton is one of the main characters, albeit a fictionalized version of the real life presidential candidate, in this musical set during and after the 2016 campaign.  Hillary is portrayed on stage, as is every other character, by an Asian actor and/or singer in a cast of talented performers that together light up the stage. In a syncopated pastiche of multiple realms and realities, they brought down the house over and over until curtain, ending in cheers and a standing ovation.

So, Dear Reader, what's the back story on this ravishing, astonishing production that begins in predictable reliable-narrator fashion but then suddenly shifts into utterly unpredictable, unreliable territory which is, come to think of it, a pretty honest description of politics in America circa 2024?

In this slightly fictionalized universe on stage, a Chinese American playwright is known as DHH (for the real-life Tony award-winning David Henry Hwang, who is also co-author of the book for Soft Power). DHH is caught up in a proverbial Clash of Civilizations between prosperous mercantilist Communist China and, on the other side, an America in which a fictionalized Hillary Clinton campaigned to be our first woman president.

DHH accepts a state Chinese commission to write a Chinese-centric musical equivalent of the 1950s Rodgers and Hammerstein classic "The King and I." The aim is to craft it according to the precepts of diplomatic so-called soft power so that Americans somehow are convinced to accept the Confucian statist wisdom of the Chinese model over the Western neoliberal model that celebrates individualism and the free market.

 All hell soon breaks loose on stage when DHH is stabbed in the neck by an unknown assailant, an incident taken directly from his own real life when, in 2015, Hwang was stabbed and nearly died. From this shocking incident staged in near darkness springs a hallucinatory dream vision that encompasses American and Chinese competing models. In one sequence the Chinese producer who has been dispatched to keep an eye on DHH, Xue Xing (superbly acted by Daniel May) and Hillary seem to be falling in love, each shifting closer together as they endeavor to gain a better understanding of the other’s world.

One stand-out scene is indelible. Hillary, played brilliantly with vim, vigor, verve and vivacious vocals by Grace Yoo, presents herself as a chilly but also warm wannabe president.  But she is also a woman yearning for real love and, to her surprise, nearly finds it.  In this scene, Hillary, clad in suffragist white, belts out the song about "Democracy" admitting that "we've got problems." That’s putting it mildly!

The scene suddenly shifts in a quick costume change, revealing an even more powerful Hillary but I’ll leave that as a surprise for future audiences.  Suffice to say she is in a memorable costume, and gyrating to the bouncy beat of the music. It should be noted that the 10 musicians, led by conductor Angie Benson, are terrific and reach every bright note of the bouncy score with effortless skill.

Of course, even more can be said of this production and company. The talented direction by Signature Theater's associate artistic director Ethan Heard for one.  The remarkable menu of whirling, breathtaking choreography by Billy Bustamante stands out.  Notable efforts also are delivered by scenic designer Chika Shimizu and costume, lighting, and sound design by respectively Helen Q. Huang, Oliver Watson, and Eric Norris.

More could be said but time's nearly up on this review. Let us simply say that this production is incandescent and provocative on every level. It's a giant hit in the making. I predict this show could and should in various up-datings (as this one was updated from the 2017 original) simply run forever somewhere. It really has everything. Go see it!

 
See video clips, find out more about this production and buy tickets for the DC Premiere of
Soft Power at Signature Theater through September 15, 2024
4200 Campbell Ave., Arlington, Virginia 22206   www.sigtheatre.org

RAIN—A TRIBUTE TO THE BEATLES

by James Hoffman and Donna Christenson

By any measure, the Beatles are one of the most successful musical groups of all time with record sales topping 600 million (the highest sales of any music artist). Other fun facts (from https://facts.net/the-beatles-facts/): Rolling Stone hailed the band as the best artists of all time in 2004, and the song “Yesterday” inspired the most cover versions of any song.

Although the Beatles began their careers as an energetic live band playing at the famous Cavern club in Liverpool, they eventually gave up live performances completely because of the mayhem surrounding their three US tours in 1964-1966. This aversion to live touring played a role in their becoming masters of the recording studio where they introduced recording techniques that became standard for artists in the future. That’s a shame because they were known to be a terrific live act. The recent documentary film Get Back by Peter Jackson captures their live energy and musicianship in a concert they gave from the roof of their Apple Corps headquarters. This turned out to be the Beatles final public performance.  

Since even the very best of recorded music can’t capture the exuberant energy of a live concert, don’t miss the chance to get a taste of The Beatles in concert by attending a performance of their music by Rain, widely considered to be the best Beatles tribute band. They do a remarkable job of recreating the best loved Beatles songs from different eras including their early days in the Cavern Club, their iconic performance on the Ed Sullivan show, through Sgt. Pepper, and ending with Abbey Road which was their final recording. The show includes costumes, slides, videos, and other theatrical effects to give the audience a sense of the historical background for the music. By the way, the photo above is Rain, though I'm guessing you thought it was The Beatles!  Rain really is the next best thing to seeing The Beatles live.

When:  Saturday, April 29 at 8pm
The Music Center at Strathmore, 5301 Tuckerman Lane, North Bethesda, MD 20852

Tickets: RAIN - A Tribute to The Beatles (strathmore.org) or  301.581.5100 Box Office    

Special 25% discount code for Strathmore this Wednesday and Thursday ! 

Strathmore presents the Australian acrobatic circus group Gravity and Other Myths: A Simple Space by Gravity & Other Myths on Wednesday, April 26, and Thursday April 27.

This is an exciting “Cirque Du Soleil” type acrobatic show. The show features a special on-stage seating option for a circus spectator, up-and-close experience! Discounts also apply to the stage seats.

GRAVITY & OTHER MYTHS

A Simple Space

BUY TICKETS

Wed, April 26, 2023 | 8pm

Thu, April 27, 2023 | 8pm

Use the promo code for “FAMILY” for 25% off discount. 

 That means tickets will only be in the $20 - $40 range!

Upcoming entertainment at the Strathmore Music Center

GRAVITY & OTHER MYTHS: A SIMPLE SPACE
Wed, April 26 & Thu, April 29 | 8pm

Australian contemporary circus company Gravity & Other Myths presents A Simple Space, a simultaneously frantic yet delicate performance. Acrobats are pushed to their physical limits, propelled by the driving sound of live percussion in a playful, intimate setting.  (See 25% off ticket discount code offer above.)

RAIN—A TRIBUTE TO THE BEATLES
Sat, April 29 | 8pm

Experience the world’s most iconic band in a performance that takes audiences back time with early Beatles favorites and songs from Abbey Road and their famous 1969 rooftop concert.

UKULELE ORCHESTRA OF GREAT BRITAIN
Tue, May 2 | 8pm

The small but mighty ukulele holds its own in the hands of this virtuosic group from across the pond. Reinventing entire genres with only their ukes and their voices, The Ukulele Orchestra of Great Britain covers Tchaikovsky to Nirvana via Otis Redding and Spaghetti Western soundtracks.

Grammy-winning duo Cathy Fink and Marcy Marxer host a Pre-Show Ukulele Strum Along . open to both ukulele players and auditors who want to learn more about this guitar-like instrument.

SENSORY-FRIENDLY BACKSTAGE TOURS
Sat, May 20 | 11am

Young people with autism or sensory sensitivities are invited backstage at the Concert Hall for a small-group tour. Children and teens can play instruments on the stage, see the artists’ dressing rooms, learn how the lights and sound work, and so much more.

THE MUSIC CENTER AT STRATHMORE

5301 Tuckerman Lane
North Bethesda, MD 20852

Ticket Office
301.581.5100 or Purchase online any time

The Nosebleed

by Donna Christenson and James Hoffman

Playwright Aya Ogawa, when asked about the goal of her newest play The Nosebleed, said she discovered it was to "create a vulnerable, empathic space for reflection, healing, forgiveness."  If you are lucky enough to be able to participate in the regional debut performances by Woolly Mammoth Theater Company, the evocative and compelling impact of this award-winning work is likely to be one of many ways to gauge and confirm her success.

And we do mean participate; the audience is given pencil and paper so it is clear at the outset that this is a play encouraging audience participation. That turns out to include answering questions with a show of hands or in writing, as well as perhaps volunteering for activities on stage. We were prepared to resist these terms of engagement but the actors were so disarming and the play so involving that resistance was futile! For anyone reluctant to take part, it might be reassuring to know that nothing personal was ever revealed from any audience member. To say anything more specific would require a spoiler alert, but suffice it to say that there is some brilliant stagecraft taking unexpected paths to deeper levels of meaning and reflection that we will leave for each audience to discover. 

Ogawa was not only both playwright and director but also appears on stage throughout the performance (portraying at various times her own father or a child with the titular nosebleed). The unusual casting of The Nosebleed also features four different actors portraying Ogawa at various points in the play, each switching to become other characters as needed. The exuberant cast brings energy, joy, and humor to their performances which makes it a celebratory experience rather than a sad one, and also suggests that love and forgiveness might make it possible to live with the many failures that define the human condition.

At the end of the play, the various actors portraying Ogawa, together with eight volunteers from the audience, gather for the Japanese ritual of Kotsuage. In this ceremony, family members gather to examine the ashes of a recently cremated family member. Their task is to separate bone fragments from the ashes (cremation in Japan is designed to leave these fragments intact). Some bones are more important than others with the most important one being the hyoid bone that is shaped like a horseshoe and is found in the neck. It plays a key role in speech and, in traditional thought, is believed to be the connection between the brain and the body. Kotsuage is a chance to honor the dead and to keep them connected to the family. It is a healing ritual and at this point in the play, it allows Ogawa to connect to her father, perhaps to understand him better and at last to find peace and forgiveness. Through the power of this performance and Ogawa’s success at creating “a vulnerable, empathic space for reflection, healing, forgiveness”, it may well have a similar and long-lasting effect for many audience members as well. 

Synopsis: Are we doomed to repeat the mistakes of our parents? Through a series of absurd autobiographical vignettes, Aya Ogawa’s THE NOSEBLEED delves into the sh*t show of parenthood, as both a parent and a child – and what it takes to forgive. 

This production of The Nosebleed runs March 31, 2023 - April 23, 2023 at the Woolly Mammoth Theater, 641 D ST. NW, 20004, Washington, DC

For tickets: 202-393-3939, https://www.woollymammoth.net/box-office/get-tickets/

Mind and Brain at Constellation Theater Company

by James  Hoffman

Descartes famously proposed that people are composed of two separate aspects: the physical (the body) and the non-physical (the mind or soul). Most current brain scientists reject this philosophical stand and instead assume that all aspects of mind can be completely understood in terms of physical and chemical properties in the brain. This approach has produced some spectacular successes but also fails to explain some fundamental issues about the mind and brain such as how conscious awareness is generated by physical processes in the brain. These are some of the issues addressed in Incognito by Nick Payne staged by the Constellation Theater Company.

Spoiler alert! I am a neuroscientist who is familiar with the cases portrayed in this play. Therefore, this review contains additional information drawn from the scientific literature on these topics.

Incognito consists of three loosely connected stories involving some 20 characters. Remarkably, these characters are portrayed by just four terrific actors (Kari Ginsberg, Ixchel Hernandez, Marcus Kyd, and Gerrad Taylor) who seamlessly transition between multiple roles throughout the play. This poses a challenge for the audience as they must quickly ascertain the identity of each portrayed character without any changes in clothing or other physical attributes that might signal the shift to a different persona.

The three stories all revolve around issues of how the mind might be related to the brain. The best developed of these stories involves the case of Henry Molaison who suffered from severe epilepsy and underwent experimental brain surgery at the age of 27. The surgery was a success in terms of reducing his seizures but also had a devastating, unanticipated side effect. Henry appeared to be unable to enter any new information into long-term memory, although his long-term memory for events occurring prior to the surgery was still intact. For example, he was unable to learn the names of doctors he met after surgery but still knew the name of his surgeon whom he had met before the surgery occurred.

Interestingly, although Henry had a severe impairment in long-term learning of new information, his short-term memory was normal. He could remember people’s names who he had just met but if he was distracted for a few moments, he couldn’t recognize them or remember meeting them. For scientists who worked with Henry over decades, this frustrating process was repeated over and over again each day for years. This aspect of Henry’s memory deficit was well represented in the play and showed how even the most basic social functions depend critically on memory. Importantly, this finding showed that short-term and long-term memory are fundamentally different and rely on separate brain mechanisms, one that was damaged by the surgery (long-term memory for new information) and one that was unaffected by the surgery (short-term memory).

Later research showed that Henry in fact was capable of some kinds of long-term learning. For example, he was given daily practice in tracing complex shapes viewed in a mirror, a surprisingly difficult task. Over time, Henry got quite good at performing this new skill but each day the procedure had to be explained to him in detail as he denied having ever encountered this task before. As was the case for short-term memory, this finding shows that skills, which rely on extended repetition and often involve perceptual-motor tasks, depend on brain mechanisms that are different from those responsible for long-term memory for events such as having done the tracing task. This was dramatized in the play which showed Henry acquiring (or reacquiring) the ability to play piano after his surgery.

Years of research on Henry established that there are several different kinds of memory (e.g., events vs. skills) which use different mechanisms in the brain. Henry’s case illustrates the strong link between mind and brain in terms of different brain areas being responsible for specific kinds of memory.

The second mind-brain story is about Dr. Thomas Harvey, a pathologist who conducted an autopsy on the famous physicist, Albert Einstein. During the autopsy, Dr Harvey took it upon himself to open Einstein’s skull and remove his brain which he took home in a jar. He later stated that his goal was to scientifically study Einstein’s brain in order to discover the physical basis of his genius. He was going to line up the best brain scientists in the world to find out how Einstein’s brain was different from those of mere mortals.

Unfortunately, years passed without the appearance of any publications. Finally, 23 years after Einstein’s passing, a reporter located Dr. Harvey and found that the lack of publications wasn’t for lack of trying. Dr. Harvey had divided the brain into slices which were sent to various scientists for study. Very few of them reported anything because Einstein’s brain didn’t seem to be physically remarkable in any way. The resulting news story however, reawakened interest in Einstein’s brain, inspiring a new round of studies using more sophisticated methods. Several of these studies did report differences in Einstein’s brain. For example, one study reported that his parietal lobe (important for spatial cognition) was larger than normal while another found that his brain cells were closer together, perhaps speeding up mental computations. In the end, no one could be sure that any of these differences were responsible for Einstein’s genius. The sad story of Dr. Harvey’s unsuccessful pursuit of fame and fortune illustrates how difficult it can be to connect attributes of mind to properties of the brain. 

The final story was inspired by the case of Kenneth Walker who drove 14 miles to a nearby town where he murdered his mother-in-law and severely injured his father-in-law.  He was found “not guilty” because these crimes occurred while he was sleep walking!  Some sleep walkers can carry out complex motor tasks such as driving a car while asleep. Walker was known to be such a sleepwalker and he had apparently committed these crimes while asleep so the violent attacks weren’t voluntary, which is a necessary ingredient for this crime. This story raises issues about what kinds of actions can be carried out without conscious awareness and the role of awareness in free will and responsibility.

All three stories are fascinating and presented with energy and skill by the four actors. It is a challenging play because the stories are intermingled in time and space and there are only a few clues to mark the transition between stories. Even more challenging are the issues raised about the nature of mind and how it might or might not be reduced to the physics and chemistry of the brain.

Synopsis: A fascinating, transatlantic mystery that spans the 20th century, interweaving three stories and 20 characters, played by an ensemble of four actors. A scientist obsesses about dissecting Albert Einstein’s brain in search of physical clues to explain his brilliant mind. A musician suffers a seizure and forgets everything except his love for his devoted fiancée. A neuropsychologist struggles with her past, while experiencing her first romance with another woman. This compelling drama will touch your heart and captivate your mind. 

Constellation Theatre Company’s production of Incognito runs February 10 - March 12 at the Source Theater, 1835 14th Street NW, Washington, DC

202.204.7741  boxoffice@ConstellationTheatre.org 

https://www.constellationtheatre.org/

Mysticism & Music at the Constellation Theater Company

By Jim Hoffman

Synopsis: A unique blend of original music, dramatic visual presentations, and storytelling, Mysticism & Music explores humanity's eternal search for oneness with the universe, weaving together scripture and poetry from around the globe in a captivating kaleidoscope of music, movement, and spoken word. Powered by a cross-cultural fusion of exuberant percussion and Chinese dulcimer from award-winning musicians and composers Tom Teasley and Chao Tian, Mysticism & Music invites audiences on a transcendent journey of crisis, ritual, community, healing, and celebration. 

This wonderful new production of Mysticism & Music at the Constellation Theater Company is available through Video On Demand until December 21, 2021. You’ll receive a special link to watch the production, and once you hit “play,” you (and your entire viewing party of friends and/or family) will have 48 -72 hours to enjoy the show! See https://www.constellationtheatre.org/

Live Theater performance or Video on Demand: 

Constellation Theater Company Offers You the Choice

By Jim Hoffman and Donna Christenson

Chris Botti at the Birchmere

by Dan McKay

Violinist Caroline Campbell shared a beautiful duet with Botti on the achingly beautiful “Emmanuel.”  Later in the gig, she displayed virtuosity across a wide array of genres and delighted the audience each step of the way in a medley that started with the Beatles’ “Yesterday,” sliding deftly into “Yankee Doodle,” then a country-style hoedown tune before rocking out with the band joining in on Led Zeppelin’s `70s hit “Kashmir.”  Like Botti, Campbell collaborates in classical music with opera tenor Andrea Bocelli.

Botti’s talented quintet also crushed a couple 1960s classics -- Burt Bacharach’s “I’ll Never Fall in Love Again” that was a huge hit for Dionne Warwick, and Miles Davis’ “Blue in Green.” Davis composed the latter piece for his #1 hit album “Kinda Blue” (Voted #1 all-time Jazz album by readers of Downbeat magazine) which, featuring modal harmonies throughout, has always been more about mood than specific formal chord progressions.

Propelled by tight-yet-supple rhythms from the core of drummer Lee Pearson, bassist Reggie Hamilton and pianist Eldar Djangirov, the band seamlessly grooved through jazz, pop, classical and funk.

Botti, now 55, recognized the Birchmere as a special venue which helped launch his early career several decades ago. He introduced awesome saxophone player Andy Snitzer, with whom he often played together back in those long-ago days.  Snitzer “killed” several solos throughout the evening’s long gig.

Two guest vocalists – of totally different styles -- kicked up matters in the second half. Sy Smith, a lively soul singer from Hillcrest Heights, MD, belted out the jazz standard “The Very Thought of You” and sauntered through the crowd on a romp of Al Green’s “Let’s Stay Together.”  Smith began her career leading a six-person D.C. go-go band called "In Tyme".  With a B.S. degree in psychology and a minor in music therapy, she moved to Los Angeles and has sung together with Chaka Khan, Whitney Houston and many other famous musicians.  “Christmas in Syberspace” is her latest album, featuring “My Favorite Things” from The Sound of Music, which was the spark of her interest in music as a young girl.

Between pieces toward the end of the concert Botti, now 55 and as much a bandleader with stage presence as a trumpet-player, explained that he asked world-renowned soprano Renée Fleming for an up-and-coming tenor.  She recommended young tenor Jonathan Johnson, a native of Macon, Ga., who has performed in recent years with Patrick G. & Shirley W. Ryan Opera Center at the Lyric Opera of Chicago. Johnson, with great tone, range and control, sang a goosebump-inducing version of “Nessun Dorma” From Puccini’s opera “Turandot,” as well as a lovely version of Sarah Brightman’s “Time to Say Goodbye.”

A standing ovation brought the band back onstage for a surprise encore of drummer Lee Pearson singing the ever-popular “What a Wonderful World.” A standard of Louis Armstrong’s later years, Pearson belted it out in a gravelly voice which, with eyes closed, easily conjured up the image of “Satchmo” himself.

The Birchmere, a full-service dinner club, is located at 3701 Mount Vernon Ave, Alexandria, VA 22305 .  www.birchmere.com/

Native Americans Inspire Modern Composers and National Cathedral Audience

By Dan McKay with photos by Donna Christenson

Performers in this exquisite evening included the PostClassical Ensemble and its Cathedra choral group conducted by Michael McCarthy, violinist and PCE concertmaster Netanel Draiblate, and featured the musicians from the Lakota Music Project of South Dakota, including vocalist Emmanuel Black Bear. Noteworthy performances also include those of internationally prominent pianist Emanuele Arciuli and baritone William Sharp.

Dvorák’s “Larghetto from Violin Sonatina” showed nuances of Native influence, though this early proponent of “Indianist” music never tried to directly mimic their raw, authentic sounds. Dvorák was nonetheless keenly interested in the native music he found here. (His beloved “New World Symphony,” in fact, is replete with allusions to Henry Wadsworth Longfellow’s epic poem, “The Song of Hiawatha.”) Dvorák conceived the “water music” middle section of the larghetto at Minnehaha Falls on a trip he took there in the summer of 1893.

In Ferruccio Busoni’s four-movement 1915 “Indian Diary No. 1” for solo piano, played beautifully by Emanuele Arciuli, also artistically evoked some sonic images of Native tribes.  Both Dvorák and Busoni weaved derivative influences of indigenous music they heard across America but neither ever sought to re-create authentic tribal sounds.

Arthur Farwell, on the other hand, did.  Three of his early 20th Century compositions on the program showed his closer affinity and integration of sounds from pre-Colonial era Americans.  Mr. Arciuli pounded out percussive solo piano versions of Farwell’ 1905 “Pawnee Horses” and 1904 “Navajo War Dance No. 2” to impressive effect. 

With baritone William Sharp, a duet of Farwell’s 1908 “Three Indian Songs” included “Song of the Deathless Voice,” “Inketunga’s Thunder Song” and “The Old Man’s Love Song.” The collaboration between vocals and piano was tight-knit and very effective. 

The 16-part a cappella Cathedra then belted out lively 1937 vocal rearrangements of “Pawnee Horses,” “The Old Man’s Love Song” and “Navajo War Dance No. 2” to conclude the first half of the wide-ranging program.

Two original compositions by Jerod Impichcaachaaha Tate, a Chickasaw from Oklahoma, followed: his stirring 2008 “Shakamaxon for String Orchestra” and the calming “Resolution” from his eight-movement 2015 “Standing Bear for Baritone and Strings,” both of which were Washington, DC premieres. (Shakamaxon was the Lenape Indian village that bordered present-day Philadelphia.  It’s where William Penn signed the 1682 treaty with the Lenape tribe that paved the way for modern Pennsylvania while leaving the tribe holding the short end of the negotiating stick. “Standing Bear” honors the Oklahoma-based Ponca tribe, which was forced to move from Nebraska to the “Indian Territory” of present-day Oklahoma.) 

The compositions of Mr. Cacioppo and Mr. Tate also incorporate both historical perspective and moral dimensions that are native to indigenous Americans (e.g., generosity and sharing, pity and compassion, respect and honor, patience and tolerance, humility, bravery, fortitude and principles, wisdom and understanding.) 

A key difficulty in capturing indigenous tribes’ sounds comes from the difference between the European tradition of major and minor scales compared to tribal reliance on vocalizations outside of any such harmonic structure.  In a post-concert Q&A session, Mr. Arciuli described some difficulties, noting that string ensembles and choirs can more easily mimic vocal “glissandos” – seamless pitch shifts up or down -- of notes, whereas piano notes can be “bent” only so much by the pedals below.  

As described by Mr. Black Bear, “When I sing, I don’t even think about hitting certain notes.” Instead, he explained, his focus is on capturing and delivering the “feel” of the song in his chest, relating to the time and place where he’s singing it, honestly and authentically, regardless of intonation, all of which my change and vary throughout each piece.  

A ton of credit is well deserved by Joseph Horowitz, PCE’s executive director and the entire PostClassical Ensemble, the Lakota Music Project, and the host team of the National Cathedral. 

The relationship between indigenous tribes and the Americas clearly remains unfinished, but this concert brought together much musical and some cultural understanding in an erudite and delightful way!

Stormy Weather:  See It, Rain or Shine!

By Donna Christenson

If the tribal drumming seems particularly authentic and compelling, be aware that it was composed, designed and performed by Jabari Exum (Caliban). Specializing in West African drumming, he played a skin-covered drum called a djembe. In addition, his vocalizing of drum and other percussion sounds was fascinating to watch and hear.  Notably, his credits include consulting on the extraordinary drumming and dance sequences in Black Panther. Wakanda forever! 

Snarky Puppy at Strathmore

by Dan McKay

Defying musical pigeonholes but displaying huge “chops” across a wide range of genres, Snarky Puppy enthralled an audience of more than 1,800 recently at The Music Center at Strathmore.

With 10 players onstage, it was a big band but not a Big Band in the traditional sense of those in the 1940s like Duke Ellington’s or Glenn Miller’s. Occasional references to such classic Big Bands --- clipped rhythmic notes by trumpets and sax, for example – were as tight as those from these legendary bands.  Those bands from 70-80 years ago, however, never had electric guitar, electric violin or synthesizers. Nor did they encounter genres that Snarky Puppy showcased such as funk, rock, World Music or jazz-rock fusion -- with brief splashes of ambient or psychedelic soundscapes – at times moving nimbly from one to another in the same tune.

On the heels of their latest release, “Immigrance” it was natural that the lion’s share of tunes on the program were from this album (their 13th).  Band founder and bassist Michael League says this raw, globally-minded record is all about movement and the idea “that everything is fluid, that everything is always moving, and that we’re all in a constant state of immigration.” League, a native of western Fairfax County, generated chuckles with self-effacing and tongue-in-cheek humor in his remarks between a few tunes.  

If there is a the current instrumental-music renaissance, as true music-lovers might hope, Snarky Puppy represents it quite well.  As a recent review in The New York Times reported, “It’s not merely a fusion band, and it’s not a jam band. It’s probably best to “take them for what they are, rather than judge them for what they’re not.” Each member also plays with other bands, and the whole ensemble totals 25, with lineup changes happening all along their tours.  The Strathmore gig was in their fifth month of a seven-month worldwide tour.

If the audience hadn’t been seated, they might have started a conga line during an updated Mambo-influenced-flavored final tune, “Jaco”, reminiscent of the Cuban carnival dance.  A well-deserved standing ovation brought the band back onstage for an encore.  It’s a cliché to say that a band’s material is hard to pigeonhole, but Snarky Puppy covers a wide swath of dynamics, lyrical melodicism with lush harmonies and tempos that slide between near-meditative stillness and relentless funky jazz.

Before the 10-member band took the stage, brilliant young jazz vocalist Alina Engibaryan opened the evening with a set of wonderful jazz standards, accompanied by three Snarky Puppy instrumentalists (a complimentary complement to the talents of the young artist).  With her passionate voice and her own facile electric piano, the half-Armenian and half-Russian Engibayan won over the hearts of many in the crowd with lyrics such as “Drop me a line and say you’re feeling fine.”  

Engibaryan’s improvisational mastery brought to mind and spirit an updated version of the Chick Corea and Flora Purim collaborations of the mid-1970s.  It was as if she played like Chick while singing like Flora. Engibaryan evoked beautiful memories while paving new pathways to vibrant and evocative new sounds.  Having established her prowess in the European jazz scene, she is on her first U.S. tour.

Snarky Puppy started the day at NPR’s studio, playing a Tiny Desk segment.  A robust sampling of Snarky Puppy’s material is posted on NPR’s website at https://www.npr.org/artists/474878869/snarky-puppy.  Whether or not you were in the Strathmore concert hall, you might enjoy listening.

Winners of three Grammy Awards, Snarky Puppy will be featured at the GroundUP Music Festival in Miami, Feb. 14-16. DCdigest Tip: A 10% discount is available for online registrants at https://wl.seetickets.us/event/GroundUP-Music-Festival-2020/30339?afflky=GroundUpMusicProductions who enter the code word “bethesda” (all lower-case.)

The Music Center at Strathmore is located at 5301 Tuckerman Ln, North Bethesda, MD 20852. https://www.strathmore.org/

Theatre Week Kickoff Party - Free Event

 45+ Theatre Organizations, Performance All Day, Children’s Programming  

on the SouthWest Waterfront at Arena Stage

 Washington, DC – August 26, 2019 – The 2019 Theatre Week Kickoff Party celebrates the launch of the 2019-2020 theatre season and the start of Theatre Week in the Washington region. The event will take place on Saturday, September 7, 11am-4pm at Arena Stage Mead Center for American Theater. It is a free event and tickets are available through the TodayTix app and website.

The Kickoff Party will begin with a special panel conversation - The Future of Washington Theatre. From 11am-12pm, Peter Marks, Washington Post Theater Critic, will speak to three new artistic directors - Maria Goyanes of Woolly Mammoth Theatre Company, Raymond Caldwell of Theater Alliance, and Chil Kong of Adventure Theatre MTC - about stepping into their roles at the helm of established Washington theatres, their vision for moving these institutions forward, and engaging their communities. Coffee and a light breakfast will be available before the conversation.

The panel will be followed by a slate of performances from 12:30-4pm by DC’s favorite theatre artists, including - Felicia Curry, Hasani Allen, Erin Driscoll, Rayanne Gonzales, Stephen Gregory Smith, Wood Van Meter, Monique Midgette, Matt Conner, Greg Watkins, Lady Dane Figueroa Edidi, Casey Kaleba, The American Pops Orchestra, and performers from Synetic Theater, Monumental Theatre, and Creative Cauldron. See schedule below for performance times.

There will be special programming for children ages 3-12 from 12-4pm, featuring classes and workshops from Adventure Theatre MTC, Levine Music Theatre, The Theatre Lab School of the Dramatic Arts, and more.

Free food and drinks will be provided by our hospitality partners: DC Brau, Anxo Cider & Pinxtos, Tony & Joe’s Seafood, Honest Tea, and Turkish Coffee Lady.

Participating organizations include: 1st Stage, 4615 Theatre Company, Adventure Theatre MTC, Ally Theatre Company, American Pops, Annapolis Shakespeare Company, Arena Stage, Beltway Barks, Best Medicine Rep, Brave Spirits Theatre, Constellation Theatre Company, Creative Cauldron, DC Metro Theatre Arts, DC Theatre Scene, Flying V, Folger Theatre, Ford’s Theatre, GALA Hispanic Theatre, Georgetown University Theater & Performance Studies Program, Levine Music Theatre, Monumental Theatre Company, Mosaic Theater Company of DC, National Theatre, Nu Sass Productions, Peter’s Alley Theatre Productions, Pointless Theatre, Prologue Theatre, Rep Stage, Rorschach Theatre, Round House Theatre, Shakespeare Theatre Company, Signature Theatre, Solas Nua, Studio Theatre, Synetic Theater, The Actors’ Center, The Edge of the Universe Players 2, The Essential Theatre, The In Series, The Laboratory for Global Performance and Politics, The National Conservatory of Dramatic Arts, The Theatre Lab Inc, The Welders, Theater Alliance, Theater J, Theatre Prometheus, TodayTix, Washington City Paper, Washington Stage Guild, We Happy Few, Woolly Mammoth Theatre Company, and Young Playwrights’ Theatre.

Performance Room Schedule

12:30pm - FELICIA CURRY, a Helen Hayes Award recipient currently appearing in Mosaic Theater Company of DC’s Fabulation Or, The Re-Education of Undine, performs songs from her past and present. She will next be seen as Dr. Martha Livingstone in Factory 449’s Agnes of God this October.

12:45 - WOOD VAN METER, a Helen Hayes Award nominee for his work as Joseph in Joseph and the Amazing Technicolor Dreamcoat at Toby’s Dinner Theatre, most recently seen at NextStop Theatre Company in Singin’ in the Rain, performs musical theatre selections.

1:00 - MONIQUE MIDGETTE, a three-time Helen Hayes Award nominee, frequent Broadway performer, and currently director of Beehive at NextStop Theatre Company, performs songs from her extensive repertoire of Broadway and classic musical theatre.

1:15 - CREATIVE CAULDRON, a Helen Hayes Award nominated theatre company specializing in world premiere musicals, led by Helen Hayes Award recipient Stephen Gregory Smith and Helen Hayes Award nominee Matt Conor, performs songs from past and upcoming productions.

1:30 - THE AMERICAN POPS ORCHESTRA, an innovative group of artists dedicated to reinvigorating the vast, rich repertoire of American music, performs selections from their upcoming September concert, Coat of Many Colors: The Music of Dolly Parton.

1:45 - RAYANNE GONZALES, a Helen Hayes Award recipient most recently seen in Olney Theatre Center’s Matilda, performs musical-based selections. She will next be seen as The Ghost of Christmas Present in Ford’s Theatre’s annual holiday production of A Christmas Carol.

2:00 - CASEY KALEBA, a Helen Hayes Award nominated fight director specializing in stage combat training and choreography for professional theatres, academic productions, and educational programs, leads a 30 minute stage combat & fight choreography demonstration for beginners of all ages.

2:30 - GREG WATKINS, a singer, pianist, musical director, composer and arranger, recently seen in Arena Stage's a cappella musical, Jubilee, and currently appearing as Professor Callahan in Keegan Theatre’s Legally Blonde, performs songs from a Gospel-inspired repertoire.

2:45 - SYNETIC THEATRE, a movement-based theatre company that has received 34 Helen Hayes Awards and a staggering 134 nominations, performs scenes from their remount of The Tempest, another in the company’s growing repertoire of wordless Shakespeare productions.

3:00 - LADY DANE FIGUEROA EDIDI, a Helen Hayes Award nominated choreographer, playwright, performer, and one of the leading advocates for trans and nonbinary artists, performs a scene from her self-penned Klytmnestra: An Epic Slam Poem.

3:15 - HASANI ALLEN, a Helen Hayes Award recipient for his work as The Scarecrow in The Wiz and most recently seen as The Prince in Into The Woods, both at Ford’s Theatre, performs songs from past and upcoming shows.

3:30 - ERIN DRISCOLL, a Helen Hayes Award recipient and Signature Theatre favorite, most recently seen as Cinderella in Ford’s Theatre’s Into the Woods, performs songs from her extensive repertoire of musical theater classics.

3:45 - MONUMENTAL THEATRE COMPANY, recipient of the John Aniello Award, the Helen Hayes Award for Outstanding Emerging Theatre Company, will perform, “The Smartphone Hour” from their recent hit production of Be More Chill and “Make a Move” from the upcoming new musical, Montgomery.

About Theatre Week

Theatre Week 2019, a three week celebration, offers $15 and $35 tickets to over 25 productions, a free Kickoff Party, and other free special events. Tickets are available through the TodayTix platform.

This celebration of Washington’s theatre scene – unquestionably one of the best in the country, with a vast array of theatres offering quality performances - includes musicals, dramas, comedies, and theatre for young audiences. Details are available at TheatreWeek.org, and tickets are available for purchase through the TodayTix app and website.

Theatre Week is funded in part by the D.C. Commission on the Arts & Humanities, an agency supported in part by the National Endowment for the Arts.

About theatreWashington

theatreWashington’s mission is to strengthen, represent, and support all segments of Washington’s professional theatre community, including theatre companies, artists, staff, and diverse audiences of all ages.

"Untitled" introduced a magical illusion with its creation of an Alice-in-Wonderland-like fantasy world which captured the audience from the very beginning with its playful movements. This dance was pure fun showcasing the dancers in huge dresses and was interspersed with occasional laughter from the viewers. 

The second presentation, “Pilobolus is a Fungus", highlights a company centerpiece on screen to explain the meaning of the company name.  Pilobolus is derived from a phototropic light-loving fungi whose spores accelerate from zero to 45 mph in the first millimeter of their flight.  Upon landing the fungi adhere to wherever they land . . . just like the movements of the dancers . . . quick and quiet.   

My favorite piece, "Symbiosis", highlighted a most sensuous and beautiful dance performed by a breathtaking duet who gave birth to their relationship on stage, right before the audience's eyes.  "Magnifico" showcased Pilobolus’ dance movement on screen through animation and done  collaboratively with music provided by the musician Alex Dezen.  

"Warp & Wet" was created in 2018 and transported the audience to a spiritual and ritualized world in which three female dancers are featured often wrapped in a giant piece of red silk. They performed their steps with beautiful and stunning movement and control.       

"Gnomen" was another interesting dance which is a classic in the Pilobolus repertory.  It is represented with a quartet of men who explored bodily relationships using a very physical vocabulary.  The dance sent a powerful message dedicated to the memory of Jim Blanc, a friend and dance colleague who died young at age 31. The men embraced movements that were sometimes athletic and abrupt and yet they combined them with movements that were sometimes very sensuous. The stage was half-lit at times, enhancing and highlighting the powerful shapes and images the men formed.  

"Up" is another live performance on screen but this time we witness a past Pilobolus audience participating in "The Umbrella Project" as we the current audience view them from above, a kaleidoscope of hundreds of umbrellas in ever changing bright colors and patterns.  

The program concluded with a performance of a newer work called "Branches", first premiered at Jacob's Pillow Dance festival in 2017. Though this dance piece is a very serious work, it is includes  occasional humor as the dancers explore through movement the competition between animals and humans and the situations that develop from that struggle, ranging from silly to scary to collaborative. 

The attentive audience needed to focus fully on each presentation so as not to miss any of the unique steps and seemingly-impossible positions, executed smoothly and sometimes with great intensity, abrupt movement and speed.  As dancer and a long time dance aficionado, I found the program very satisfying.  This performance was an outstanding example highlighting the wonders of the human body and evidencing both soul and spirit.          

Superbly written, acted and musically directed by Kelvin Roston, Jr., a gifted and formidable singer and musician in his own right, Twisted Melodies pours fuel onto one's appreciation for the power of the stage and Roston, Jr. sets it ablaze with his fiery and passionate performance. Plan to see it now!

While his legendary musical talents ranged from his gospel roots to R & B to pop and jazz, what's lesser known about Hathaway is that he was beset by a history of severe psychological problems which he battled via bushels of prescription drugs and which may have been the reason for his death by a fall from a 15th floor hotel room window . . . thought by some to be an act of suicide and by others a freak accident. Through an artful combination of sound, set and lighting design, we have a visceral experience of his deteriorating mental health as we see the looming shadows of the relentless demons Hathaway fought for control of his mind and as the walls figuratively and literally begin to close in on him.   

Roston, Jr. beckons his audience to join him in a joyful call-and-response number, calling us his "angels" and enlisting us to help provide him a sympathetic understanding of his mental turmoil.  In so doing, he leads us to an understanding of Hathaway's gifts and ability to soar transcendentally on the wings of song and then plummet and crash into the depths of depression when the power of his strong, musical updraft could no longer keep him aloft. 

Among Hathaway's well-known duets with Roberta Flack were “The Closer I Get To You” and “Where Is The Love", both of which reached the top five on the Billboard Hot 100 in the 1970’s.  Hathaway's covers also were highly regarded, including Leon Russell's "A Song For You" and Al Kooper's (Blood, Sweat and Tears) "I Love You More Than You'll Ever Know", which Roston, Jr. delivers so satisfyingly and earned him a standing ovation punctuated by ear-piercing whistles at the show's conclusion.  

Twisted Melodies runs through July 21, 2019, at Mosaic Theater Company performing at the Atlas Performing Arts Center, 1333 H St NE, Washington, DC 20002. For tickets, call the box office at (202) 399-7993 or  online .

Describe the Night

Theater Review by Tom Rixey and Donna Christenson

In an intriguingly-woven series of incidents, we are thus reminded of the historical repetition of the threat by totalitarian regimes and their attacks on the press and other freedoms, and we are increasingly aghast at the idea that such practices might be successfully fostered here in our United States of America.  

Describe the Night creates a visceral experience through which the audience becomes Jefferson’s “informed citizenry”, experiencing the powerlessness and frustration of being caught in the conflict between journalists’ determination to chronicle history truthfully in opposition to the self-serving  governmental authorities who seek to create false narratives and dispense propaganda to serve their own ends. 

Written by Pulitzer Prize-finalist Rajiv Joseph, Describe the Night is a “work of major ambition” (New York Times) which won the 2018 Obie award for Best New American Play, adding to a long list of awards for his previous plays.  From the excellent ensemble cast to the stark sets to the dramatic lighting, every element melds together to chilling effect in this powerful production.

John Vreeke* (Director) has directed for Woolly Mammoth for the past fifteen years. His assignments include, but are not limited to, Rajiv Joseph's Gruesome Playground Injuries and Guards at the Taj, Lisa D'Amour's Detroit and Cherokee, Kris Diaz’s The Elaborate Entrance of Chad Diety, which received nine Helen Hayes nominations, Tony Kushner’s Homebody/Kabul, and Sam Hunter’s A Bright New Boise. He is a six-time Helen Hayes Nominee for Best Director. Other directing credits include Theater J, Round House Theater, Metro Stage, Forum Theater, Washington Shakespeare Company, Everyman Theatre, Olney Theatre Center, Source Festival, Charter Theatre, Theater Alliance, Kennedy Center TYA, Imagination Stage, and the Helen Hayes Awards Ceremony.

Cast members in Woolly’s production of Describe the Night include Jonathan David Martin (Isaac), Tim Getman* (Nikolai), Regina Aquino (Yevgenia), Danny Gavigan (Vova), Moriamo Temidayo Akibu (Urzula), Justin Weaks (Feliks), and Kate Eastwood Norris* (Mariya). 

The scenic design for Describe the Night is by Misha Kachman*. The remaining members of the production team include Ivania Stack* (costume design); Colin K. Bills* (lighting design); Roc Lee (sound design); Mollie Singer (assistant scenic design); Lorraine Ressegger-Sloane (movement choreographer); and Rachael Danielle Albert (production stage manager).

Republic Undone

Tickets now available for DC & Virginia performances!

We live in a Wilsonian America. We began with a Madisonian America. Against the backdrop of World War I, John Henry’s Republic Undone dramatizes the conflict over the meaning of the American Revolution -- what it means to be an American. 

Featuring the galaxy of personalities that sashayed across the stage as Woodrow Wilson ascended to power and orchestrated America’s entry into the Great War. His first wife Ellen, Andrew Carnegie, William Jennings Bryan, Alice Paul and Henry Cabot Lodge argue for a Madisonian America that exalts separation of powers and prohibits presidential wars. Colonel House, Mary Peck and his second wife Edith defend a Wilsonian America that salutes limitless executive power to go abroad in search of monsters to destroy. 

Republic Undone explores Wilson’s narcissistic personality as he crushes any opposition to his will. The ghost of James Madison attacks Wilson for destroying the Republic that secured peace to enable women and men to march to their own drummer. Wilson dismisses Madison as a museum piece that would hobble Americans from spreading goodness in every corner of the world. 

Republic Undone is directed by Rick Davis, Dean of George Mason’s College of Visual and Performing Arts. This event was made possible in part by a grant from the RAAC Claudia Mitchell Arts Fund. 

May 18th: Stone Hill Amphitheater. At 7 p.m. George Mason's Green Machine Band will perform a pre-show musical assortment. Etlan Little Country Store BBQ truck. The play begins at 8 pm and runs a little more than an hour.

 Tickets VA May 18th   

May 21st: Hosted at the Woman's National Democratic Club. Cocktail bar open at 6:30 pm, light snacks included. The performance begins at 7 pm.

 Tickets DC May 21st    

The Committee for the Republic is a citizen-based, non-partisan, nonprofit organization founded in 2003. The Committee sponsors speakers monthly on challenges to the American Republic, including the military-industrial complex, too-big-to-fail banks and U.S. competitiveness. For questions or requests email: James@committeefortherepublic.org

"What crackles in the show is not just the script’s wit; there’s something captivating and refreshing about watching real people from a real polis acting out real people who shaped our nation’s history" -

-- John Stoltenberg on Republic Undone, DC Metro Theater Arts      Click on the link to read his excellent review.  

The Agitators

 How Hope Happens: Past as Prologue

Theater review by Donna Christenson 

Synopsis:

This brilliant play examines the 45-year friendship and occasional rivalry between two great, rebellious, and flawed American icons: Susan B. Anthony and Frederick Douglass. Young abolitionists when they met in Rochester in the 1840s, they were full of hopes, dreams and a common purpose. As they grew to become the cultural icons we know today, their movements collided and their friendship was severely tested. This is the story of that 45-year friendship - from its beginning in Rochester, through a Civil War and to the highest halls of government. They agitated the nation, they agitated each other and, in doing so, they helped shape the Constitution and the course of American history. A loving and faithful portrait of two historical figures, Mat Smart’s story also brims with modern urgency and relevance.   

The Agitators runs through November 25, 2018, at Mosaic Theater Company performing at the Atlas Performing Arts Center, 1333 H St NE, Washington, DC 20002. For tickets, call the box office at (202) 399-7993 or at https://www.mosaictheater.org/ 

Saxophone master Anders Lundegard curated another of his signature concerts to delight discerning music-lovers as he led the Swedish Jazz Trio with a varied program spanning eight decades Saturday evening at The Lyceum in Old Town Alexandria, Virginia.

The trio provided an intriguing variety of songs and instrumentals stretching from 1940s Duke Ellington ( “I Let a Song Go Out of My Heart”), to the 1966 bossa nova ballad, “Dindi” by Antonio Carlos Jobim to the 1969 pop-rock hit, “I Love You More Today than Yesterday,” by the Spiral Staircase.

Other delightful tunes on this diverse “Rock the Boat” program included “Au Privave,” by Charlie Parker’, “On Green Dolphin Street” – first recorded by the Miles Davis Quintet in 1958 – and “It Had Better be Tonight” from Henry Mancini’s score for the 1963 “Pink Panther” movie.

Al Bauman played guitar throughout the evening and sang when tunes included lyrics, including “Beautiful Things” from the movie, “Dr. Doolittle,” “I Let a Song Go Out of my Heart,” by Duke Ellington, and  the Antonio Carlos Jobim bossa nova classic “Dindi” (pronounced “jin-jee” – Portuguese for “sweetheart”).

Bassist Daniel Brown, meanwhile, rocked the rhythm and anchored deft chord changes throughout while providing beautiful solos where he made his upright bass “sing.”   Anders – not known for his vocals – sang an original song.  “Be My Match” was inspired, he said, by the fire that decimated the lakeside cottage he bought in Sweden in 2015. Before launching into this song, he played a furious sax solo instrumental he composed, “Fire,” immediately after learning of the troubling lakeside house fire.

Even when the music stopped, Anders gave the audience chuckles as in his candid admission of dance-floor shortcomings when he introduced the Jerome Kern song, “I Won’t Dance” – popularized by Fred Astaire’s exquisite footwork in the black & white film, “Roberta.” At other moments between tunes, he entertained the crowd with self-effacing humor and some historical references to events that occurred on November 3rds in years past (e.g., Joseph Haydn’s unsuccessful eye surgery in 1752, the fall of the Austro-Hungarian Empire in 1918, and D.C. residents regaining the right to vote in 1964).

The three excellent musicians dipped into a bit of Baroque, performing “Adagio by Albinoni,” attributed to the 18th-century Venetian master Tomaso Albinoni but actually believed to have been composed by 20th-century musicologist and Albinoni biographer Remo Giazotto. Shortly after the end of World War II, Giazotto announced that he had found a manuscript fragment of the adagio in heavily bombed Dresden, Germany, but Anders said he joins the consensus of classical music scholars who dismiss the finding as a fake and suspect that Giazotto penned the composition himself sometime in the 1940s in the style of Albinoni.

Al and Daniel provided an ever-propulsive and sensitive backdrop throughout, augmented by Al’s vocals or soft and calming “bridge” solos from Daniel’s deft upright bass.  From subtle trills to the occasional obligatory honks and squeals as in the introduction of the Pink Panther number, Anders exhibited superb command of styles on soprano, alto and baritone saxophones.  Anders and Al have an entertaining stage presence between selections and Anders, with his PhD in music, always informs the audience with bite-size nuggets of knowledge.

Between the fast tempos of John Coltrane’s “Lyresto” and “Just in Time” to the ballads, “If I Had You” and “Dindi” this concert hit many different vibes. It ended, to rousing audience applause, with the standard, “Wade in the Water” – a “Spiritual” song developed and sung by slaves in Confederate southern states before the Civil War. 

A festive and convivial reception followed the performance. The Lyceum is Alexandria’s History Museum, built in 1839, at 201 S. Washington Street. Concert admission includes the opportunity to tour the museum prior to the performance. The second-floor concert hall, with seating for just over 100, provides an intimate concert experience with quite nice acoustics for small ensembles. 

AIDA is a Shining Star for Constellation Theater

Theater review by Donna Christenson

The gorgeous voice of Shayla S. Simmons would be reason enough to make seeing the new production of Elton John and TimRice’s Tony Award-winning musical AIDA an evening well spent ...but wait, there’s so much more!  Constellation Theater Company’s talented cast and crew, headed by director Michael J. Bobbitt, has accomplished the challenging goal facing any ensemble by creating a beautifully-interwoven whole that is even greater than the sum of its excellent integral parts.    

Working within the constraints of a relatively small black box theater space, every element has been pared down to a minimum but used powerfully for maximum effect.  A.J. Guban’s dramatic, jewel-toned lighting, featuring a glowing asymmetrical diagonal band of changing light, triangulating the very well-designed but minimalist set, shifting the focus and mood for each scene in the story. Angles and triangles are repeated in a grid frame hanging as a ceiling and in the intricate jewel-toned pattern of the floor.  Angled and ramped floor areas and a few steps offer choreographer Tony Thomas II a variable platform where action,  movement and positioning of characters, along with Costume Designer Kenann M. Quander's bejeweled and flowing garments, take the place of sets, and very few props are required.  It is clear that the entire team, rounded out by Helen Hayes Award-winning music director Walter “Bobby” McCoy and Sound Designer Roc Lee, has pulled everything together seamlessly so that all elements focus on the epic pop-rock musical score. 

Pat Metheny and Innovative Bandmates Regale Sell-Out Strathmore Audience

By Dan McKay with photos by Donna Christenson

Bethesda, MD, Oct. 6   – Renowned guitarist Pat Metheny and his latest quartet featured pop-jazz instrumental originals from 1970s and 80s all evening at Strathmore and, while the tunes weren’t new, he and his latest piano/bass/drum lineup brought new interpretations and energy to each of them.

Metheny has recorded and toured since the mid-1970s with jazz legends such as Gary Burton, Charlie Haden, Ornette Coleman, Roy Haynes and Brad Mehldau, as well as rock stars like David Bowie and Joni Mitchell.

On this North America tour, Metheny-- now 64 -- surrounded himself with a new cosmopolitan lineup that included Welsh pianist Gwilym Simcock (37), Australian bassist Linda May Han Oh (34), and Mexican drummer Antonio Sánchez (46).

Their concert Saturday night at the Music Center at Strathmore incorporated elements of progressive jazz, Latin jazz, acoustic guitar ballads and jazz fusion, with occasional touches of Asian, New Age and psychedelic influences.