Drama and Dance
"Well hello, Washington Stage Guild, it's so nice to have you back where you belong" and the new venue is the Mount Vernon Place United Methodist Church for their sterling production of a comedy of manners, "Lord Arthur Savile's Crime" (To3/21)...adapted by director Bill Largesse from a work by Oscar Wilde. The six actors (James Konicek, Tricia McCauley, Laura Giannarelli, Lynn Steinmetz, Vincent Clark, David Bryan-Jackson and R. Scott Williams) "play many roles" in this rollicking look at the art of cheiromanty (hand reading) and its effect on dastardly turns in their lives. Next party game for them will be ESP, of course. Never to be forgotten roles is the Russian count of Tricia McCauley, the Lady Clementina of Laura Giannarelli, the Dean of Chichester of David Bryan Jackson and the Little Reggie of R. Scott Williams. The script is full of epigrams and ripostes to destroy the falsities of the upper class. As in George Bernard Shaw (which this group is famous for producing) the working class are the real gems of society. William Pucilowsky does fabulous fashion-walkway gowns and Marianne Meadows does exciting lighting. Clay Teunis provides script-significant sounds and Carl F. Gudenius provides a sliding door set that effectively presents different scenes. One only wished the stage was more dressed with flowers or greenery pots especially for the party scene. But, this is a highly recommended comedy for a nightime of laughing. (Reviewed by Bob Anthony)
*****
"That Face" (To 3/14) at the Studio Theater is not for everyone...only those who love dramatic fireworks during a 90 minute show. Playwright Polly Stenham developed an Edward Albee/Tennessee Williams combo script to allow the cast to "chew up the scenery" and it is significant that the vicarious and sexually-evil mother was appropriately named "Martha". But the whole disordered family was balanced towards the "evil" side of the scale...even the father (Will Cooke) who gets the most empathy putting up with his embittered daughter (Dana Levanovsky), his sardonic bisexual son (Patrick Thomas Cragin), and his overbearing lush wife (stand-in Jamie Crowne). Best friend (Zehra Fazal) stands solidly on the evil side. And victim (Angela Weichbrodt) just isn't on stage long enough to know what evil lurked in her heart that justified her being beaten up. But label all of the sets for this show "rumpus rooms" since clothes fly , epithets bounce around, four letter words and "potty mouth" expressions shock the listeners...and, at times, the plotting is so absurd that one finds time to smile and snicker as relationships are so lurid. The only slight negative was the admixture of British accents...Mother had none and the Father and Sister are the only ones with consistent dialects. But one doesn't mind since the acting is so intense that emotional flows are constantly overwhelming the audience like grand guinol bloodletting. And it is justified pschologically since "families that talk alike show cohesiveness but families who all sound different indicate lots of disunity". Patrick Thomas Cragin soars above the rest of the cast and stardom is definitely predicted for him in the future. (Reviewed by Bob Anthony)
*****
Ever want to see a Shakespearean historical play twice...well every theatergoer at "Henry V" (To 4/10) at the Shakespeare Theatre was so enthused by the superb performance by Michael Hayden to so desire such an opportunity. His was a top-drawer, award-winning accomplishment. It might well have been a solo performance as he mesmerized the audience whenever he took the stage and one was breathless at his every entrance and exit. His diction and verbal fluidity was the best every heard on the Shakespeare Theatre stage. He textured the role with growing maturity away from the ambivalence that the character possessed during "Henry IV-Part 2". This Bard play is about the demands of leadership and Mr. Hayden transfixed as the shrewd and amiable monster that was demanded for the role of a king. Yet he showed an almost shy lover as he courted Rachael Holmes (Katherine) who was also totally charming as the soon-to-be queen. It was such a talented large cast for the show and the other actors who impressed were Tom Story as the petulant Dauphin, Derrick Lee Weeden as the compromising Exeter, And Darren Matthias as impulsive Pistol. The set by Lee Savage which was more suitable for co-play, "Richard II", still established time and place quite efficiently. Director David Muse made a fine choice of having the battles done in darkness...so often stage sword fights seem faked. He also managed fine stage pictures, however his having the chorus represent social icons of military, Elizabethan, and modern day politician was a poor decision as choruses should only tell the story and not indicate any social interpretations. Ellen O'Brien, voice and text coach, has a few failures with one captain moving between Indian and Irish/Welsh too often and, other than Mr. Hayden, most of the leads gave inadequate stresses to confuse intelligibility. But do catch this production for a performance of the century by Mr. Hayden. You will love a Shakespearean history script finally. (Reviewed by Bob Anthony)
*****
The Jane Franklin Dance company can always be depended upon to provide some new twists in modern dance with a most invigorated group of youthful dancers with powerful messages. Their present concert, "Of Bones and Bridges" (To 2/28) at the Source Theater gave us three male tap dancers (Matthew Lasik, Steven Lasik and Justin Lewis) with powerful toe tapping and whose only disturbing quality was the lack of eye contact with the audience as they focused on their feet or on the floor too often. Later Justin Lewis did a fine duet with Emily Brown in which he was on upper speed control while she did "shameless" cavorting around him. This was the most dynamic presentation in the program. The finest choreography was seen in the last dance "Then and Now" with wonderful intricate ethereal interweaving of the six female dancers. The message dance of the evening was "Of Bones and Bridges" which showed frustrations with the ecology around the Four Mile Run in Arlington, Va. Deathly and purposefully ugly movements showed the destruction of the environment in and around this polluted stream. The exciting female dancers were Brianne Barrow Little, Whitney Crawford, Andrea Ligon, Ji Shin, Wayles E.S. Haynes and Amy Scaringe. Miss Shin was the most riveting in her sequences. If you like modern dance...you will make a good choice by supporting this exciting group. (Reviewed by Bob Anthony)
*****
Teatro de la Luna is presenting "Chumbale-El Casado Casa Quiere" (translation: "Every Love Bird Needs a Nest") (To 3/13). It is really a farce but being played as a comedy which is not bad since it still garners lots of laughs as a young married couple living in a bedroom of her family's apartment can't seem to get any privacy as people storm into their bedroom without knocking. Of course, they might have easily put a lock on the door but in farcical mileau there would then be no delights following. Leyre Varela as the mother has to be credited with true farcical playing...meaning she "believes" in the reality of the situation. The other five players are skillful comedians who play upon each character's idiosyncracies. Alex Alburqueque is best as he needs to go to the bathroom but must make a "painful" decision to repaint their one bedroom before he can leave the bedroom and face family repercussions. Gerald Montoya is the brother-in-law who has bad training in "gun control". Karin Tovar Cardenas as the sister slowly warms to Enzo's dilemma and provides him sympathy. Livio Danna is the violent prone father-in-law who believes in the sanctity of his apartment and any decision to make changes is his prerogative. Marcela Ferlito Walder is the soppy wife who, after marriage, turns into a shrew. Although she has proven herself to be a fine young actress in other shows...she would have been more fun is she were more shrewish. Nevertheless the audience loved this situational comedy and the conflict scenes are huge and provide for many belly laughs. It is good family entertainment. A reminder: acted in Spanish but there is a screen providing English surtitles for audience members in the back two rows. (Reviewed by Bob Anthony)
*****
Matthew R. Wilson is a most ingratiating entertainer and his "THE GREAT ONE-MAN COMMEDIA EPIC" (To 3/1) gave joy to a small audience at the Harman Center for the Arts. The one-person show was most pleasant as he, like entertainers around the world, celebrated the commedia del arte founding in Italy. The wonderful mask were all there so he could create a story of some of the characters represented in this classic theater style. The audience reacted well when asked to make "sounds" and expressions throughout the four act presentations mostly about two lovers who weren't allowed to marry. And all of Mr. Wilson's characters were well defined by attitude and accent. Mr. Wilson didn't have enough pantomimic skills and relied more on verbalizations to relate the story. In fact, his best segment was the French accented military conflict in Part 4. He called upon audience members to participate in his antics which were most humorous but, of course, not part of the commedia tradition. But it was continuing fun throughout the evening. There are only four more shows and this production is highly recommended for a unique look at early Italian theater. (Reviewed by Bob Anthony)
*****
The final evening of the 10th Annual FLAMENCO FESTIVAL at Lisner Auditorium presented the Compania Israel Galava, whose performance was impressive and intense, using the strong talents of only three performers: a musician, a singer and a male dancer. As the program notes stated, Israel Galvan "was born into flamenco dance." In some ways, the performance was reminiscent of Japanese Butoh dancing, so physical and almost metaphysical in character that any "programmatic" character has beens stripped away to leave behind raw emotions and physical elegance. Mr. Galvan dominated the stge whenever he appeared and there were only brief times during the 90 minute perfomance when he was not dancing. The cheap distactions of elaborate and colorful gowns were expressly forbidden tonight. This was an all-male world of brutal talents, expressive but entirely and individually powerful. This was not dancing that involved any element of sharing, or even contrast or subordination. Galvan was dominant from the first moment he stepped onto the stage, and the evening was like a monologue performed by an actor of infinte resources and skills developed over a lifetime. Galvan began his program with great severity of posture and gesture but , as the evening developed and the physical demands of the intricate choreography were realized, Galvan's body began to relax slightly. By the end, he was almost smiling when the three performers played games among themselves by varying their roles and suggesting that perhaps on another evening they might cast lots to see which one would sing, which one would dance, and which one would play the guitar. The joke , of course, was that no one believed the joke for a minute. Galvin is the genius of this troupe, the Baryshnikov of flamenco. In his presence, there is no possibility of a second-best dancer. (Reviewed by Stephen Neal Dennis)
*****
The world premiere of Septime Webre's choreography for "THE GREAT GATSBY promises to be a great triumph in Washington during its brief run of only six performances. (To 2/28) Loosely connected to the plot of F. Scott Fitzgeralds's novel of the same name, "The Great Gatsby" creates a fantasy world of the 1920's in which everyone is under 30, almost everyone is rich , and everyone can dance. Overall, the presentation is clever, sometimes entirely too clever when hopelessly extraneous features such as the fabulous tap dancer Ryan Johnson is introduced without explanation or the enthusiastic torch singer, E. Faye Butler, gives an erotic performance of "Put a Little Sugar in my Bowl" that might make Mae West seem prudish. Somehow the concept of Gatsby never gets emotionally realized. Perhaps this is part of the nature of Gatsby even in Fitzgerald's novel in which physical descriptions of Gatsby himself or his preposterous Long Island mansion can be left somewhat vague and suggestive. On stage, both must become concrete and specific. Famously elegant as a classically-trained dancer, Jared Nelson gives no sense of the rapacious money-making personality that must lie behind the sensational quick success of Gatsby. Whatever Gatsby had done to make a quick fortune, it remains as mysterious as money would be in any Henry James novel. This is too valuable an essence to be forgotten after its initial run. With some thoughtful cutting to eliminate irrelevant inspirations, "The Great Gatsby" has much promise. But there is a problem in the production if a secondary character such as George Wilson (danced by Brooklyn Mack) receives the strongest audience response during curtain call. There is no doubt about the grief and anger of Wilson and perhaps the other characters need to have stronger and more obvious emotions of their own (Reviewed by Stephen Neal Dennis)
*****
'Tis a pity for such a mediocre cast to so poorly act "Bus Stop" (To 3/14) against a superior cafe set by Stephen Dobay. This eight member cast was each searching for their characters until the very end of the intermissionless production...only Jane Summerhays, as the owner of the cafe, managed beautiful transitions and master gestures to provide any creditability about living in a small Kansas town. Blame the director,Austin Pendleton, for his lack in demanding better interactions and consistent and believable characterizations from the others. Boyd Harris, as cowboy Bo, should be loud but not obnoxious with nary a bit of empathy...he is a "pussy cat" which should underly his cavorting. Too old for the role, Jean Lichty, as Cherie never accomplished the washed out young chanteuse. Judith Ingber showed no stage talent as she rarely faced the other actors and mumbled her lines...she came across as a schizo rather than a shy young lady desiring world experience. Usually talented Timmy Ray James, James Slaughter and Harry Winter wavered in their characterizations as a result of the weakness of most other characters, and James Judy didn't impress at all with his inadequate interactions. The only thing that kept the audience in their seats was the fact there was no intermission which would have allowed them to leave before the end of the play. Forget this production if you happened to have seen the original cast or any other cast performing this classic award winning play...or rent the excellent screen version of this play. (Reviewed by Bob Anthony)
*****
Director Kerry Waters started pre-show with a great and significant collection of Elvis Presley singing spirituals which got us in the mood to expect some theological look at "the Atheist" (To3/3) playing at the Church Street Theatre. Unfortunately when the curtain rose, all we got was actor Eric Lucas stating that he was an atheist. What followed was the lurid and sexual story of a deceptive young man who would commit every sin to attain a success in life...he might just as well sold his "soul" to the devil to accomplish this feat. Yes, the script by Ronan Noone was rather slim and devious and totally padded with more "f" words and potty mouth expressions which saw two couples get up and leave the show. Yet, Eric Lucas proved that a seasoned actor can overcome play weaknesses and give a sterling two hours of fine character acting. He was finely assisted by Kerry Waters Lucas as she directed excellent movements and focus to also keep up the audience getting totally involved in the sole character's vengeful ways and surprisingly effective plottings. Otherwise, this play errs in suggesting that atheists have no moral or ethical code. They probably are more sinless than most religious people who feel that a prayer to God relieves them of punishment for their sins and transgressions. (Reviewed by Bob Anthony)
*****
Imagination Stage comes through with a most delightful retelling of the Russian/Prokoviev story/play-with-music of "Peter & The Wolf." (To 3/21) Allison Gregory(story) and Hummie Mann (music) present a more playful wolf who never threatens the young audience but is a real jokester as well as a pawn for vegetarians. Landon Nagel is absolutely perfect as the Wolf with so much delightful by-play and creative business that he keeps ripples of audience laughter throughout the 90 minutes. Matthew McGloin as Peter gets better with each production with his back flips and cartwheels ...and his charming approach to his characters. Maggie Marlin is darling as the Bird; Calvin McCullough is perfect as the "pussycat" feline; and Gia Mora is cantankerous as the Duck and stalwart as the Soldier. This play is such a wonderful success due to the adroit directing by David S. Leong who manages some superb chase scenes...which is always loved by the youngsters and gets audience guffaws. This is a highly successful production and highly recommended for family groups. It should be a huge success so get your tickets asap. (Reviewed by Bob Anthony)
*****
The Shakespeare Theatre Company is now presenting concurrent runs of the Bard's two plays "Richard II" and "Henry V". (To 4/10) Audiences are expected to be fascinated by the mental agility of an actor such as Michael Haydon (playing the lead role in each play). Will he flub his lines and start into the wrong soliloquy at an inappropriate moment, or can all the actors remain correctly within their roles and in the right plays. At its most basic historical level, "Richard II" would have reminded English audiences of the complicated twistings and turnings within the Line of Succession to the English throne, when the transfers of power were not always smooth and rising public dissent might lead a king to lose his throne or his life. At a more personal level, the play is here presented as an uncannily disturbing close-up of a man perhaps losing his mind, trapped within the false expectations of power encouraged by self interested hangers-on. For the king's supporters and flatterers, the state of Richard's mind become an acute prognostication of whether they will live or end as severed bodies with their heads being sent to London for outdoor display. Hovering over the evening for an American audience will be the final weeks of Richard Nixon's presidency when allegations that the president was under such severe political and pesonal presssure that he was "cracking up" were omnipresent. Clearly, Richard is cracking up and his visible personal tics and mental sarcasm from the beginning of the evening do not bode well for him. When Nixon resigned and King Edward VIII abdicatd, inappropriate leaders were hustled effectively and permanently off national stages before they could cause or facilitate greater damage. Are there moments when a position is simply too demanding for an underqualified individual to cope with? How does any leader hang on to ultimate power without becoming emotionally deformed? For a culture which believes in the Divine Right of Kings (as medieval England abundantly did), is it permitted to execute a deposed king even if the act is accomplished, as here, by a misunderstood suggestion and the future Henry IV vows a penitential pilgrimage to the Holy Land? (Reviewed by Stephen Neal Dennis)
*****
After an excellent extended run of "Rent", Keegan Theatre is presenting a world premiere of a Liam Heylin play, "GDIRL FROM GDANSK" (To 3/7). It is such an insult to an audience to allow such deep Irish accents on an American stage...as only 75% of the script could be understood coming from Elizabeth Jernigan, Matthew Keenan and Aidan O'Hare. Add Bruce Alan Rauscher who couldn't be understood until Sheri S. Herren entered halfway through this apparent comedy drama. Ms. Herren had a wonderful muted accent that was perfection for American ears and she added a star to her acting prowess with her best performance yet on local stages. As for the comedy in this play...there seemed to be two "plants" in the stairwell on press night who guffawed constantly which added insult since no one else was turned on. The basic story is a Cain/Abel relationship between two brothers and the climax was predictable due to the violence and differing attitudes from the getgo...and "let's put a pair of unusued scissors on the stage to foreshadow". The writing and/or directing so lacked reality since a few of the characters spoke to empty chairs...why? The directing by fine actor, Joe Baker, had him move characters upstairs (?) in what should have been confrontational scenes. And the "gdirl from gdansk" never had an inkling of a Polish accent even though she stated she was only in Cork for about "eight months". She should be penalized by having to watch Meryl Streep a dozen times in "Sophie's Choice". This show could only be recommended for theater-goers who understand deep Irish dialects and those touched by "soap opera" story lines. (Reviewed by Bob Anthony)
*****
"BEAUTY OF THE FATHER" (To 2/28) at Gala is a play seriously looking for a playwright. To place the ghost of Federico Garcia Lorca in a multi-sexual, tawdry, soap-operish plotting is an insult to this famous revolutionary poet/playwright. And, whether it was the script character of Lorca or the playing by the main actors (Dan Istrate, Norman Aronovic, Monalisa Arias and Lucas Beck) there was simply no Spanish passion except by Kerry Waters Lucas who, in her two monologues delved deeply into her character's emotional love affairs and rejections. Yes, there was some screaming in the second act but it all was superficial. Playwright Nilo Cruz simply had this violent revolutionist, Gorca, walking around doing poetic dissertations on love and death and, anyway, half was lost with Dan Istrate's muted un-Spanish accent. With the Moroccan young man as a character the playwright could have easily expanded the drama comparing the social violence going back to the Moorish control of Spain for decades. There are molar and molecular conflicts in the political trends occurring in Spain even today that could have been brought into the picture. Lorca's death by a firing squad had nothing to do with a love conflict among his boyfriend, his mistress and his daughter. The technicals were all fine especially the sound by Brendon Vierra which was more dramatically moving than this script or the acting...with the exception of Kerry Waters Lucas as mentioned above. (Reviewed by Bob Anthony)
*****
The new dynamic theater group in town, Taffety Punk, is trying an interesting dramatic experiment with its dramatic dance production, "SUICIDE. CHAT ROOM" (To 2/13) at Flashpoint . It might be called "modern dance" except it has continuing spoken dialogue...often jibberish...and ambient noises so it really is just an eurythmics experiment by a group of six actor/dancers. Why such a description?...primarily because the spoken ramblings about suicidal contemplations only occasionally match up with the movements. But, when they do as choreographed by Paulina Guerrero, they become moving works of art. Especially disappointing was the final statement of "I wanted to die...because I wanted to live" where the six bodies lie on the floor rather than rising in some lotus formation. In most cases, classic modern dance phrases didn't follow the pattern of death being downward and life being upward. Overall, however, this was a very successful new staging approach by a very dynamic group of actors and the strong final applause suggested that the theater goers present were very excited by such a different approach to comprehensive dramatic art. Also, they all seemed riveted during the 50 intermissionless program. Much credit should be given to Josh Taylor and Beauty Pill who provided the excellent sound design and music. (Reviewed by Bob Anthony)
*****
Actor Craig Wallace is performing the best acting of his local career in "PERMANENT COLLECTION" (To 2/21) at Round House Theatre and it is a shame that the play is such a didactic and philosophical dud. Playwright Thomas Gibbons took so much dramatic license trying to impose racial bias on an institution like the Barnes Collection outside of Philadelphia that it is an insult to any student of the visual arts. Yes, he tries to disguise the place as the "Morris Foundation" yet uses all of the historical facts about the Barnes and its current controversies that it is pitiable playwrighting...almost unethical. Yes, Barnes did have a Black American as its chief executive but the biases against him did not involve hanging African Art but the attempt to raise needed money by traveling a part of the collection which was prohibited by the founder's will. Other stipulations of the will were that no picture was to be moved (his was lacking themes) and that the collection never be moved to another location. And, the donation of a collection to a Black University was involved with a part of Georgia O'Keefe's collection...not his. And why wasn't it mentioned that lots of the works of Matisse and other French artists often carried African and jazz themes and iconic figures. The concern about moving the collection to downtown Philly was due to the stressful demands placed on the number of visitors by the neighboring estates. So this script gave us nothing but specious argumentation and didactic misinformation. A second disappointment of the evening that saw the most tepid applause ever heard at curtain call was the lack of enunciation of lines. I was sitting in the "g" row and lost so much dialogue as only Mr. Wallace could be totally understood. Even Susan Lynskey and Jewell Robinson seemed soto voce. As for Paul Barrow he dropped so many words and phrase endings that he needed surtitles. And one wonders if he or costume designer determined his dress...it was totally too casual and inappropriate for a museum official. Kanika Weaver played an o.k. "gofer" but Lawrence Redmond had a useless role as a spectre walking on and off the bare stage and giving wise saws. Really the play is a loser except for the fine performance of Craig Wallace. (Reviewed by Bob Anthony)
*****
The Folger Theater has opened a world premiere of "ORESTES: A TRAGIC ROMP" (To 3/7) that tells of the agony and the attempted justification of murder by two Greek adults...Orestes and Electra... in the death of the mother and father...Clytemnestra and Agamemnon. It is a modern update by Anne Washburn not unlike so many Shakespearean play nowadays but it doesn't work as well since the gutsy style and woeful proclamations of Greek drama aren't captured on the stage of the Folger. And, just when this critic was about to proclaim Holly Twyford's excellent portrayal of the sister Electra, she comes on stage as an old man Tyndareus and falls into a lesser than high school performance of that role. Why was she so double cast when there are dozens of old male actors that would easily have fulfilled and loved doing that role. Jay Sullivan as Orestes ranted and raved constantly...has he never had experience with psychos and murderers who are quiet in agony...particularly since both Orestes and his sister claim to be justifying the murder. The only actor who adapted well to this modernization was Chris Genebach who played four male and female roles to perfection keeping up the required passion of Greek drama with honest modernity. The chorus of Lauren Culpepper, Rebecca Hart, Marissa Molnar, Rachel Zampelli and Margo Seibert (also daughter Hermione) did fine recitative although the humming and abstract noisemaking didn't seem to fit into the choral work. So blame the casting director for poor selections and/or play director Aaron Posner who forced too much creativity and parody into a simpler tale of murder and mayham. I guess this is another case of "don't mess with Father Thespis". Technicals were all fine especially the lighting by Tyler Micoleau and the movement direction by Patty Gallagher. The use of a female voice (Lynn Redgrave) as the "deus ex machina" at the end did not fit in well... again. (Reviewed by Bob Anthony)
*****
COMMENTARY: The nominations for the 26th Annual Helen Hayes Awards to be presented at the Warner Theater on April 5 were announced. Just google the Helen Hayes Awards website to get the list which is too long to put on this webpage. Most of the attendees at the National Theater were pleased that nominations included some new or long forgotten theater groups: Solas Nua, Gala, Keegan, Forum and even Washington Savoyards. Yet, what happened to Teatro de la Luna and Olney...particularly when Teatro de la Luna brings in companies from the Hispanic world during their international festivals. And the judging still allows for the same actor, director or technician to appear more than once in a category. Why not just select a single top performance or staging respectively! After 25 years one would think that consultants would be called in to develop a more effective voting system. The new category for "children's theater" doesn't make much sense since the actors are almost all Equity and stage union adults performing and doing the technical work. (Comments by Bob Anthony)
*****
Synetic Theater with "ANTONY AND CLEOPATRA" comes through with the most fantastically invigorating dramatic theater that outshines their great previous stage productions. With sparks flying off of their swords, the fighting armies clash with such violence one just hopes that there is company insurance available should something go wrong in the scenes. The story if one of the triumvirate that existed in the Rome of Julius Caesar, Antony and Octavian and their battle to the death. We know of the murder of Caesar so this play focuses on the battle between Octavian and Antony who just happens to be in Egypt in another fierce sexual battle of his own with Cleopatra. So-be-it reported that there is battle and sexual violence abounding throughout the 90 minutes so fantastically directed by Paata Tsikurishvili. Irina Tsikurishvili will, no doubt, continue to get HH awards for her choreography as well as her superior acting in this one. Although Ben Cunis is wonderful as Antony, he is edged out in talent by Philip Fletcher as Octavian who does a violent sexual scene on a life sized Cleopatra doll that had heads turning to avoid visual contact. The amazing thing about this company is how they can coordinate their pantomime to the excellent music and sound of I. Kavsadze and K. Lortkipanidze. The pyramidal set by is simply perfect and allows for lots of jumping around and grand entrances. Anastasia Rurikov Simes did the set as well as the rich costuming that establishes wonderful time and place. Other major characters who all did an outstanding job are: Scott Brown, Chris Galindo, Irakli Kavsadze, Alex Mills, Peter Pereyra, Ben Russo, Ryan Sellers, Vato Tsikurishvili and Mary Werntz. This is a highly recommended show that has the edge over the many Cirque du Soleil shows in the past. (Reviewed by Bob Anthony)
*****
After a run of some well directed and acted stage plays, Constellation Theatre is failing its dedicated audience with a mediocre 'THREE SISTERS" (To 2/21) at the Source Theater. First off, the play does not fit comfortably into an in-the-round format especially when the usually genius director, Allison Arkell Stockman, doesn't fulfill the need for constantly moving actors so that the whole audience can fully appreciate dramatic interaction. So we are left with one side of the audience having to listen to unseen actors for long periods on a swing, etc. She also allowed interpretations that lacked the necessary "soul" (dusha) of Chekhov's character. The only two actors who managed this quality were Michael John Casey as the lieutenant colonel and Amy Quiggins as the younger sister Irina. The biggest fault was not seeing the three sisters as three aspects of the same "Russian heroine"...sturdy intellectual, driven romantic and impulsive youth. So Ms. Quiggins just went it alone beautifully and created the triage herself. The most disappointing were usually talented Nana Ingvarsson who used a master gesture of hands on mouth and bringing forth tears so unlike an Olga. And Brian Hemmingsen who was superb in the first act with delightful warmth but who did a switch to an impulsive and repulsive doctor in the second act (doesn't he know that all the doctors in Chekhov's plays are Chekhov himself?). There should be no bombast but introspection even though he is drunk. The finest Russian quality actually come through with the secondary characters: the Nanny of Annie Houston and the Courier of Lewis Freeman. Ivana Stack did masterful costuming and A.J. Guban gave superior lighting throughout on his two perfectly designed sets. Others in the cast are Joe Brack, Katy Carkuff, Catherine Deadman, Ashley Ivey, Billy Finn, Mark Krawczyk, Scott Zeigler, and Carl Brandt Long. The production is worth the price to appreciate the two top performances by Mr. Casey and Ms. Quiggins. (Reviewed by Bob Anthony)
*****
Musical Program
It is the finest and most fascinating presentation yet by The Bach Sinfonia as they were within their bailiwick by doing J.S. Bach's "THE MOTETS". Maestro Daniel Abraham scintillated with his pre-concert didactic lecture about Bach and the motets and the questionable passages in the first six motets and the utter lack of confirmation regarding the seventh. Simply, the word "motet" comes from the French meaning "the word" (as in "bon mot"..."good word"). And more complex things like the combining of matched voices with string and reeds even though such music was "a cappella" (done in chapel where instruments used to be prohibited). The first six motets superbly performed both vocally and instrumentally were (in English) Come Jesus Come, The Spirit Doth Our Weakness Help, Jesus My True Pleasure, Sing Ye The Lord, Fear Have Thou None, I'll Not Let You Go and (the questionable one) Praise Ye The Lord. This seventh one was much too romantic when compared with the first six. The "call and response" seem to carry different intentions and one suspects that it may have been composed much later by the Von Weber group of composers. The most effective musically was "Sing Ye The Lord" with a balance of forceful singing contrasted by slow and very melodic pianissimo. Throughout the concert, soprano Laura Heimes performed with a liquid and clear angelic voice that chilled with it beauty. Bass baritone Steven Combs also gave one of the clearest low male voices heard in a long time but he needs to be louder as he was occasionally drowned out. The additional joy with this group is that they use very old instruments that give wonderful period sounds. And the eleven backup singers finely meshed with the five lead singers. This is a "gem" musical group that never fails to please and, in the new hall at Montgomery College-Takoma Park, there are no hollow acoustic effects previously experienced in a church setting...although these religiously-based motets might have been more appropriate in their previous venue. Next up: "The Art of Lute" (Reviewed by Bob Anthony)
*****
There is no listing for the creator of "Tango, Tango" (To 3/7) of the Opera Theater of Northern Virginia at the Spectrum but he/she should be ashamed to put such a mish-mash theatrical on stage. The first conceit is that it apparently takes place in a radio station in California in June/1914 with no sets or props for ambience. It also seemed totally unrehearsed or directed as two duds...no, not dudes...choppily presented facts and entertainers to tell the story of the tango. Apparently it was to praise the work of Carlos Gardel who is known as the founder of the tango in Buenos Aires. My having been favored to see the floor show at the Carlos Gardel Dinner Theater in Buenos Aires, this intention was never realized. The opening section had the QuinTango (yes five members) play some music that was more milonga (preceded the tango musically) than tango. Violinist Joan Singer (?) told the story in English with poor mike work so she could not be heard. (There was a program with translations but the lights were darkened so one could not read it). Then soprano Elisa Cordova and tenor Alvaro Rodriguez took turns screeching some numbers in Spanish...they both had the worst breathing so legato was missing. Unfortunately QuinTango returned with mediocre playing. Then the second act was the presenting of "Tango: An Opera in One Act, 3 Scenes" by baritone Tad Czyzewski who went through the history of the tango around the world as he overacted and screamed so excessively that audience members started to slip away. He was a total non-talent...shame there is not a reward for that category...and he fortunately finished with the assassination of the Austrian archduke in Serbia preceding WWI. Oh, my, his performance could have resulted in a second victim. It was a most disappointing evening throughout and the only bright spot was the excellent tango dancing of Carino Losano...her partner, Rene Davila, unfortunately lacked the expected side kicks that adds passion to the Argentinian tango. (Reviewed by Bob Anthony)
*****
The George Mason U. Center for the Arts was the venue for the Virginia Opera's latest production of Mozart's "Don Giovanni". It was a most enjoyable evening. Matthew Worth (Don Giovanni), Nicolle Forland (Donna Anna), Christina Nassif (Donna Elvira), Chad A. Johnson (Don Ottavio), Sarah Jane McMahon (Zerlina), David Krohn (Masetto), and Nathan Stark (Commendatore) turned in stellar performances. The voices were glorious and the acting, overall, was commendable. Giving an extra "two snaps" to Daniel Mobbs(Leporello), whose comedic timing , gorgeous voice and lithe frame make him a candidate for stardom. The production values of this group are most impressive. The set by Erhard Rom was striking. As usual, the orchestra, under the direction of Joseph Walsh, was nothing sort of brilliant. The only small imperfection was that the lighting in the opening scenes was just too dark. The Virginia Opera is celebrating its 35th anniversary and let's hope they continue to thive. (Reviewed by Beverly Cosham)
*****
San Fancisco guest conductor Nicolas McGegan gave the audience for the Baltimore Symphony Orchestra's "BEETHOVEN & MOZART WITH A TWIST" concert much to ponder from the frothy overture to Mozart's "The Marriage of Figaro" (the inevitable short opening piece for those who arrive grandly late and need to be seated by anxious ushers) through a Beethoven piano concerto and on to Mozart's immortal "Jupiter" symphony. What was not surprising was that the BSO musicians could play Mozart and Beethoven with absolute confidence and considerable style. This is music that comes almost embedded in the DNA of capable musicians. This could have been a soundly traditonal evening except that pianist Robert Levin chose to play so waywardly during the Beethoven "Piano Concerto No 1 in C Major" that much of the time the piano part simply disappeared beneath the cascading sounds of a jubilant orchestra. One could see the music happening at the keyboard and perhaps the mind anticipated what the piano part should have sounded like. But most of it could not be heard unless Levin was playing a strictly solo part when he excelled in razzle-dazzle and rapid prestidigitation. Levin had announced when he appoached the keyboard for the first time that the program had been rearranged so that his "Improvisations in the Style of Beethoven" would follow rather than preceed the intermission. During the intermission, audience members were invited to ask ushers for empty musical scores and write in their own short little compositions from among which Levin would then select several fragments on which he would build the "Improvistions". Perhaps Levin underestimated the GSO's audience as many appeared quite able to write out a melody. Levin quickly slected four fragments and played each several times so that the audience could know them. Immediately, he dove into a Beethovenesque fantasy of coloratura bravora at times slightly in the manner of the famous endless coda of the 1960's British comedy routine "Beyond the Fringe". (Reviewed by Stephen Neal Dennis)
*****
"IN THE HEIGHTS" (To 3/7) the 2008 Tony Award winning best musical is in Baltimore at the Hippodrome. This high enery, fast paced show takes the audience on a ride to visit Washington Heights...the Puerto Rican and Dominican community. The musical is vibrant and evolving as the youth become more American. Lin-Manuel Miranda created the show and Andy Blankenbuehler won the Tony for best choreography and Alex Lacamoire and Bill Sherman won for the best orchestration. Joseph A. Callaway directed this produciton with Thomas Kail. The voices of Kyle Bertram, Elise Santora, Sabrina Sloan, Genny Lis Padila and Arielle Jacobs are noteworthy so look for these performers for shows to come. The cast is packed with energetic performers who sing and dance their hearts out as they inhabit the upper, upper west side neighborhood.Though it is a story of an hispanic community, it is the universal story of youth breaking the shackles of the past and moving forward to live their own dreams. This is great entertainment. Get there before it closes. (Reviewed by Nancy McCord)
*****
Wow! What a huge musical production on the small DC/AC stage when half of the stage is taken up by musicians! Landless Theatre Company again proves that fine talent can overcome small spaces and weak scripts with its production of "High Fidelity" (To 3/14)that takes place in a small record shop seeing its final days as megashops have taken over sales. This scenario has nothing to do with the moving love story that dominates over the songs and the singers. Stephen Gregory Smith garners the empathy of the whole audience as he loses his live-in girlfriend (Karissa Swanigan) because he lacks the maturity to handle unrequited love. He dominates the stage and proves himself a singing talent that can successfully handle such a huge stage role. By the end of the second act, he was able to get humor from "I slept with someone who slept with Lyle Lovett" yet get sympathy for a renewal of his affair with "Laura, Laura". The evening ends with a huge song finale of "Turn the World Off" sung by Andrew Lloyd Baughman and assisted by rhythm guys, Klepto Boy (Mickey DaGuiso) and TMPMITW (Juan Carlo Sanchez). It's a huge cast that turns on more energy than could light a whole city block! Landless Theatre Co. never fails to present high voltage and off-beat musicals and this is no exception. This is a highly recommended show that might well be an after-Valentine present. (Reviewed by Bob Anthony)
*****
Norman Scribner demonstrated how to create "musical mush" during the first half of the Choral Arts Society of Washington's concert at Georgetown's Dumbarton Church and offered under the auspices of the Dumbarton Concerts Series. Works by des Pres, Palestrina, Sweelinck, Victoria and Byrd were uniformly sung as if they contained no Renaissance polyphony at all. Individual voices were consistently suppressed and the size of the massed choir was often too large for the music being sung. Letting the singers regroup themselves physically during one of the pieces was an artful gesture which might have worked better if some degree of actual physical separation between two opposing "choirs" had been possible. But again all vocal edges had been deliberately smoothed away into a blended gush of sound far different from what several less-known choral groups in DC such as the Suspicious Cheese Lords, Chantry or soloist Chrisopher Dudley's Countertop are beginnng to present to appreciative Washington audiences. The recent intense performance of the 1610 "Monteverdi Vespers" at Washington National Cathedral with a relatively small group of singers and a consort of early instruments also showed that the "traditional" way of letting large choruses mangle the inner musical tension of Renaissance music may finally be giving way to greater experimentation and a fuller understanding of the emotional potential of choral music of this period. By contrast, the Choral Arts Society's post-intermission performance of Henrich Schutz's moving "German Requiem" was impressive with several added occasional solo voices. For the Schutz, Scribner was quite content to let the soloists become ardent , personal and impressive. "Choral" effects were highlighted with soloists paired or in contasting moods against the background foundatin of the full choir. Schutz alternates between expressive comments from the soloists and background liturgical messages from the massed choir...giving many opportunities for varying the musical sound. (Reviewed by Stephen Neal Dennis)
*****
Stephen Sondheim's classic that gives new meaning to the term "dark comedy" is once again on the boards at Signature. Eric Schaeffer directs this newest production of "SWEENEY TODD" (To 4/4) with sweet reference to earlier productions. In 1999 he staged this iconic drama that remains ingrained in the minds of those that were fortunate enough to be there. The pot of blood and guts that audience members walked past to leave the theatre was toned down for this production. To enjoy the gore, a pot of blood had to be sought out near the theatre entrance. However, as much gore as one could enjoy in the 1999 production, this one lacks nothing. The cast is outstanding. Edward Gero and Sherri Edelin are magnificent in their delicious evilness as Sweeney and Mrs. Lovett respectively. The makeup is a character in itself. One gets the shivers from the horrid life of average Londoners depicted here. Channez McQuay is both sad and menacing in her role as the beggar woman. Even the ensemble cast was riveting. Gregory Maheu, who plays Sweeney's young friend, and Erin Driscoll, who plays Johanna, are sweet and fresh against the scary and dreary backdrop of the play. Jon Kalbfleisch is musical director. James Kronzer created a simple yet practical set. Costumes are by Kathleen Geldard and lighting is by Chris Lee and sound is by Matt Rowe. This is definitely a DO NOT MISS! Eric Schaeffer and his gang have done it again...produced a memorable and entertaining theatre event. Call for tickets...you won't regret it! (Reviewed by Nancy McCord)
*****
Opera Lafayette presented one of the most surprising and dramatically overwhelming programs of the year with its sterling concert production of "ARMIDE" by Gluck. The story was almost a morality play about war and love played out by god-like sorcerers around the plight of the crusades. The concert hall at the Kennedy Center was SRO..thanks to Opera Lafayette's low prices...so thunderous applause came at curtain call and one can be certain that everyone opera lover there will mark this down as a top-of-the-list production. The singers were all divine...no pun intended. Dramatic soprano Dominique Labelle was outstanding in voice and dramatic emphases as Armide...she used every muscle in her body as she pushed forth amazing legato and the colorations of war and peace in her soul. Tenor William Burden was her foe and hypnotized lover and he portrayed a most sensitive matinee idol type. His voice was silky smooth except in the final scene where he had some unfortunate vocal gargling. Soprano Judith van Warnroij and mezzo Nathalie Paulin were matchless players relating the conflicts. Bass baritone William Sharp continued his beautiful operatic presentations as the demanding father. Lyric baritone Darren Perry and baritone Robert Getchell gave beautiful phasing and sounds in Act IV which they truly owned as their part of the opera. But it was the shocking "bulldozer" voice of Stephanie Hountzeel as Hate that stunned the audience with her glorious mezzo and in such dramatic fashion that hasn't been seen in opera since Maria Callas. Wow! Soprano Adria McCulloch added her lovely operatic range as the Naiad. There was much court dancing during the musical interludes by six dancers of the New York Baroque Dance Company that brought forth "oh's" and "ah's"...their period costumes and dancing were stunning. The Opera Lafayette chorus was well balanced in range and style throughout. A great joy came from the baton of conductor Ryan Brown who always kept the mostly string instruments in the time and place of France during Louis XVI's reign. The music by Gluck was most interesting as there was always a military beat underlying even the most romantic sections of the score. Yes, it was a perfect night of voice, music and dance. (Reviewed by Bob Anthony)
*****
The Strathmore concert was advertised as a "Russian Evening with Leon Fleisher". In truth it was PIANIST LEON FLEISHER who drew the audience. At 78, Fleisher has become a legend in the Washington/Baltimore area. Compelled to learn the left-hand repertoire thoroughly when his right hand was disabled for many years, Fleisher gave a dazzling performance of the Prokofiev "Concerto for Piano (left hand) and Orchestra". Typically percussive but also with occasional deeply melodic passages, this is music which is "Russian" in a very 20th century manner though it does nothing to celebrate the strength of the Soviet people. After performing the Prokofiev concert, Fleisher graciously returned to the concert stage to play one encore...a very moving rendition of Bach's "Sheep May Safely Graze". The entire concert hall became intensely still as the audience realized how rare it is for a guest soloist to offer an encore after a concerto. Although the Prokofiev piece had been slightly unfamiliar to many in the audience, the Bach brought an intense and immediate reaction. The concert had opened with a standard "short" piece, Mussorgsky's "Night on Bald Mountain" as re-orchestrated by Rimsky-Korsakov. This is a relatively early piece of Russian "classical" music completed originally in 1867. The National Philharmonic's performance of Tchaikovsky's "Symphony No. 6 in b minor" ("Pathetique") was one in which the extemes of the music were repeatedly exaggerated. Dimuendos from the strings were several times so intense the strings virtually disappeared. But the brass instruments blared forth with great strength whenever given an opportunity. For each set of intruments, it was as if there were only "on and off" buttons. Though this is very emotional music, it can also be music that often builds in a subtler manner to various peaks and climaxes. Perhaps conductor Piotr Gajewski intended his audience to remember that Tchaikovsky died nine days after the work's premiered in St. Petersburg on Octobe 28, 1893 and wanted a memorial atmophere. (Reviewed by Stephen Neal Dennis)
*****
"I LOVE YOU, YOU'RE PERFECT, NOW CHANGE" a musical tribute to love in celebration of this month's Valentine's Day is a great pick-me-up during these cold snowy winter evenings. The book and lyrics are by Jo DiPietro. Shawn Kettering directs this quartet of performers who describe the lifespan of love and then marriage relationships. Man meets woman, man dates woman, man marries woman, man grows old with woman. But what makes it all fun and interesting is the drama in-between. The music by Jimmy Roberts enchants with the jazzy, country, latin and popular songs that keep the show moving smoothly across the boards. Douglas Lawler is the musical director. Janine Sunday, Shawn Kettering, David James and Debra Buonaccorsi display their many talents as they perform the various roles from young to old age. This is a great show to enjoy with friends. This would be rated PG or R but it is still recommended as a fun evening out. So grab your date and call Toby's for tickets at this dinner theater in Columbia. Happy Valentine's Day to all. (Reviewed by Nancy McCord)
*****
LINDA EDER joined the Baltimore Symphony Orchestra under the direction of Jack Everly at the Strathmore Center for the Arts in a program billed as a tribute to Judy Garland. The BSO started the evening with overtures from three broadway shows directed/choreographed by Bob Fosse..."Sweet Charity", "Damn Yankees", and "Little Me" and ended with a medley of songs associated with Judy Garland. Ms. Eder appeared along with her trio featuring John Oddo on piano. Mr. Oddo was a long time accompanist for Rosie Clooney and is an absolute genius. Watching him made me wonder why there is no formal recognitions for the "unsung" accompanists. Ms. Eder sang some songs from Judy Garland's repertoire, a song written for but never performed by Ms. Garland: "Someone Like You" from "Jekyll and Hyde"; her hit "In Vienna" and "Over the Rainbow". Ms. Eder's voice is still probably one of the most beautiful voices around but she doesn't move me. Judy Garland made you believe because she sang the truth in the text and not just the notes. None of the arrangements or Ms. Eder's performance evoked Judy Garland for me. Even"Rainbow" replaced Yip Harburg's beautiful opening verse with "I'm Always Chasing Rainbows". This is a clever pairing for a cabaret act but not for a tribute to Judy Garland. (Reviewed by Beverly Cosham)
*****
"MAHALIA" (To 3/14) has returned to the MetroStage in Alexandria. Bernardine Mitchell portrays Mahalia Jackson while S. Renee Clark and William F. Hubbard are the other characters in her life. What is there to say about a piece that made such an impression on its initial run in 2004 since the production is basically the same. If you liked it then, you should like it now. If you ever saw Mahalia Jackson perform, this piece does little to evoke her majestic power or the sense that she was singing from her soul every time she opened her mouth. Some of the characters as played here come across more as cariacatures than real people. S. Renee Clark is a standout in acting and her piano playing. There are no real quibbles with this piece except that I didn't really learn anything substantive about Mahalia the woman and I wanted to be moved by the music and I was not. (Reviewed by Beverly Cosham)
*****
The BACH SINFONIA with Daniel Abraham as Music and Artistic Director in its 15th season presented its ninth annual Early Music Chamber Concert. "The Circa 1800"... Colin St. Martin (flute), Meg Owens (oboe), Richard Spece (clarinet), Anna March (Bassoon) and Paul Hopkins (horn) performed a program consisting of "Quintet in E flat Major" by Francesco Antonio Rosetti (1746-1792), "Quintet No.2 in d minor" by Guiseppe Maria Gioacchino Cambini (1746-1825) and "Quintet in E flat Major, Op. 88, No.2) by Antoine-Joseph Reicha (1770-1836). The music was all new to this reviewer but was a feast for the ear. After intermission, each musician gave a history of his/her instrument. This was fascinating to learn the evolution of these instruments. Bach Sinfonia does such a fantastic job with their programming that not only entertains but educates. I am a veritable cheerleader for this group and wonder why every seat at the Takoma Park/Silver Spring Performing Arts Center at Montgomery College isn't filled for every presentation. I am doing everything I can to spread the word about this most deserving group. The next presentation is "Johann Sebastian Bach: The Complete Motets" (March 6) (Reviewed by Beverly Cosham)
*****
It was a snowy evening in Washington and everyone patiently waited for the Kennedy Center to cancel its programs...but it didn't...so the Terrace Theater saw lots of empty seats for the Vocal Arts Society's program featuring lyric soprano MS. ANNA SCHWANEWILMS presenting her liederabend of Strauss and Mahler for which she has world acclaim. But that program could have been canceled as well as this soprano opened the evening with a comment that she was suffering from a cold and spent every break to sip water and violently clear her throat. The first half of the evening saw very poor vocal control with breaks in phrasing and legato and sharp shifts from the mezzo to the lyric and back down. She lacked any resonance even though the upper range was golden pure. German language sophisticates in the audience commented they had difficulty in following the German script as she dropped words and did substitutions the whole evening. It wasn't until after intermission that she had control of her material with the three songs of Ophelia from "Hamlet" which show dramatic intensity and more wholesome singing. Her projection was still inadequate but it was fine for those seated in the front of the house. One wonders how she manages her acclaimed Wagner since hers is not a powerfully projected voice. Perhaps she will some day perform in an opera in DC so one can judge her intensity and endurance. Needless to say, the audience wildly applauded her at the end of the concert so one wonders if it was her insistence on performing while under vocal duress and/or her "the show must go on" attitude. Throughout the recital Malcolm Martineau was a masterful accompanist with a great touch on the keys. (Reviewed by Bob Anthony)
*****
The EMBASSY SERIES presented a young Austrian pianist who now styles himself simply MATTHEUS (but was previously Matthias Soucek) in an all-Schubert concert two days before the actual birthday of Franz Schubert. There is absolutely no question that Soucek knows his Schubert well and performs it with attractive fire and dash even when pauses within a movement seem unnecessary and strong chords become excessive punctuation marks. Like his Austrian colleague Margarete Babinsky, Soucek likes his Schubert hearty rather than damaged. The advantage of Soucek's approach is that Schubert sounds more and more like the inevitable and fated intensely chromatic predecessor to Brahms (and even at times Chopin). The profound emotional depths which Sviatoslav Richter invariabley found in his Schubert rest quietly under the surface of Soucek's interpretations in which disturbing juxtapositions take the place of destiny gliding toward oblivion. Listening to Soucek perform Schubert is more like gliding along a very artfully designed country parkway with delightful vistas around every curve, tranquilizing pleasures eliminating any regret that a destination is sometimes not clearly known or a final unhappiness remains unanalyzed. Soucek opened his concert with the "Three Impromptus (D 946): and closed with the "Sonatas in A (D959)". These were played with Soucek's characteristic admirable technique. In between was sandwiched the most intriguing part of the program, "Homage to Franz Schubert", one of the series of improvisions that Soucek has been devising in recent years from the most famous melodies of several important composers. Although modern concert audiences are likely to have forgotten the Bach-Busoni compositions (Bach on steroids) that once dazzled concert audiences, or the 19th century affection for series of variations built atop simple melodies of other composers, the ability to "compose" rather than merely perform suggests that Soucek's innate musical talents are so considerable he has not yet entirely matured into the impressive pianist he will finally become. (Reviewed by Stephen Neal Dennis)
*****
It was a full house at the GMU Center for the Arts for the musical program "HANDS ACROSS THE SEA" and its subtitle tells it all: "Band of Irish Guards and the Pipes, Drum and Highland Dancers of the Argyll and Sutherland Highlanders, 5th Battalion the Royal Regiment of Scotland". And, looking at the audience, there was no doubt that most ancestries of the British Isles were represented. The pre-concert lecture was most interesting as one discovered how much the brass buttons indicated different groups and the lecturers told the story of the "bearskin" hats which are so heavy that necks suffer if pageants and parades are too long in time. It was also noted that young teenaged males may enter the army to enter the musical programs. The presentation at GMU was adapted for the stage (usually open fields are the venue) and it was amazingly effective as the bands did intricate marching while playing. Of course, the bagpipes offered the most charm playing representational British melodies but it was the drummers that offered the excitement as they twirled their sticks in intricate patterns in their solo passages. It was a rousing two hours that left everyone in joyful mood. (Reviewed by Bob Anthony)
*****
The In-Series comes through with a most delightful program at the Atlas Theater ("WAM"...Wolfgang Amadeus Mozart) (To 1/30) with a superb opera/dance combination performed to the music and operas of the musical genius. The dancing was provided by the Washington Ballet Studio Company which proved that a fine group of young dancers is being prepared for futures in ballet. One was amazed at the precision dancing and emotional involvement these young dancers showed during the two hour program. The evening started and ended with a solo by Jong-Suk that was absolutely thrilling and predictive of major roles for this young man. Throughout the evening the dancing got better and better as the young ladies showed sustained arabesques and fouettes indispersed with amazingly lyrical movements that brought forth hearty audience applause. The six singers accomplished fine singing of Mozartian opera snippets although mezzo Anamer Castrello again outshone the others as she started and ended solidly especially in her arias. The others had some weak phrasing and weak legato although they all seemed improved in the second act. The show was perfectly staged by Septime Webre and David Palmer with additional choreography by Jared Nelson especially the latter's "London Hats". The house was nearly full and one wondered where everyone parked along H Street, N.E. which is in need of a city parking garage. But this is a solid two hours of dance and opera that is highly recommended. (Reviewed by Bob Anthony)
*****
Conductor Gunther Herbig, originally from East Germany before he come to the United States in 1984, oversaw a defiant and tightly-strung rendition of Beethoven's "Coriolan Overture". Obviously for Herbig, Beethoven is simply mother's milk...a tradition in which he has been steeped from birth. Pianist Garrick Ohlsson performed the solo part for Bethoven's "Piano Concerto No. 3 in c minor". Here perhaps doubts began to creep in as, despite Ohlsson's obvious technical ability, there were moments when the music appeared to dissolve into incoherent pyrotechnics. If one were to attempt to assemble a list of the twenty five living concert pianists, it is doubtful that Ohlsson's name would appear on the list. And herein must lie a story as the crowding talents of other younger pianists now dazzle in concert halls around the world. In Washington where the steady talents of Till Felner have now impressed Beethoven audiences at both the National Gallery of Art and the Austrian Embassy, Beethoven with a defined message and clear emotional development impresses more than the Beethoven of various magnificent passages. The showpiece of the evening was the Schumann symphony. A large orchestra performed a piece which puzzled its earliest audiences because it did not follow "strict" protocol for the development and recapitulations of themes. But after the massive subsequent symphonies of Mahler and other composers, Schumann appears almost restrained. Tonight the brass section especially was impressive...not because it dominated the concert hall but because it was perfectly blended so that individual musicians did not stand out. There was at times an autumnal eloquence which, of course, suggested Brahams not surprising given the strong ties between Brahms and both Schumanns. (Reviewed by Stephen Neal Dennis)
*****
Debby Boone proved to be a solid all around entertainer and not just a one-hit wonder with her "REFLECTIONS OF ROSEMARY" at the Strathmore to an undeserved small audience as she presented a major talent of singing and repartee to most appreciative lovers of jazz, country, crooned, and word-scat music. Her backup quintet, led by musical director John Oddo who arranged for her mother-in-law Rosemary Clooney, was exceptional especially the sax and trumpet players. Therefore when she sang parsing Rosemary's smooth quality and perfect phrasing one could close one's eyes and remember the lady's greatness. But she also included songs bringing forth the likenesses of friends Frank Sinatra, Bing Crosby, grandfather Red Foley et al. In fact, her top song was the country spiritual "Peace in the Valley" done with a vocal wonderment. Of course, her encore was the expected "You light up my life" that ended the evening with a stand up, deserved ovation. Physically she appeared years younger in appearance that denied her middle age and she was wearing a gorgeous black Edith Head full length sequined dress given to her by Rosemary that made women jealous and men ogle throughout the 80 minute show. Definitely put her on your calendar for any future shows in the area. (Reviewed by Bob Anthony)
*****
METROPOLITAN SIMULCASTS 2009-2010
I can honestly say that this current Met-simulcast production of "Carmen"has been the most exciting and passionate one I have ever seen in a lifetime of opera going. The singing...as well as the acting...was faultless and the first time that the tragic flaws in both Carmen and Don Jose were balanced. Elena Garanca had a perfect mezzo throughout and her body writhed in sensuality with piercing eyes (thanks to simulcast close-ups) that foreshadowed all of the growing tragic elements in the storyline. Tenor Roberto Alagna never held back on his emotions and his switching to vocal pianissimo was chilling. His range seems to grow with every performance...or perhaps he had previously just held back. Teddy Tahu Rhodes replaced an ailing baritone and he had wonderful body posture and prancing and gave a wondrous voice to the bullfighter. He occasionally scrapped the bottom of his range but it only caused a slight roughness only evident by close listening. Bravo for his stepping into the role with only a four hour notice. Barbara Frittoli was a little too old for the young Micaela but her voice had the vibrancy of youth yet. The second most amazing performance after the leads was the superior conducting by Yannick Nezet-Seguin (thanks again to close up of the orchestra with simulcast). His emotional approach to the libretto exceeded even that for the orchestration. He seemed to have them both completely memorized and one was never aware of any attempt to drown out the singers...so often the fault of most conductors. Stage director Richard Eyre proves himself most creative in opera productions as in the past. This time he added some storyline ballets for the entrances into the four acts that were stunning. And his crowd scenes were superb although one questions the children's chorus in the tavern scene...it took away the "seediness" that usually added to that atmosphere. By the way, Ms. Garanca proved to be an excellent flamenco dancer in that scene... with full force...but it didn't seem to affect her breathing for singing...a most unusual participation for mezzos doing the role. Again, the audience response confirmed that this was the operatic performance of the current century. (Reviewed by Bob Anthony)
*****
Richard Strauss' "Der Rosenkavalier" completely captivated the simulcast audience with its wonderful waltz-like phrases throughout. The story line was very weak and it was difficult to "suspend disbelief" particularly in the opening bedroom scene with Renee Fleming as the Marschallin and Susan Graham in the trouser role of Octavian. The two singers are long time personal friends and they took too much pleasure in the interplay...so one wondered when they would foreshadow conflicts that were to come...and they never did. It should be stated that all of the voices were excellent for the whole cast...not a single complaint along those lines. Kristinn Sigmundsson wins the prize for the best acting...particularly the comic acting...as his plotting was foiled and he ended up an outcast. The set and, especially, the costumes were perfectly extravagant so that one easily slipped into time and place of Vienna during the reign of Empress Maria Teresa. The final scene of the opera as the three leading ladies resolve their love affairs is definitely the most romantic and poignant scene in any opera...and perfectly sung in this production. (Reviewed by Bob Anthony)
*****
"TURANDOT" by the Met is an outstanding production. It is first class "grand" opera and Franco Zeffirelli's production totally thrills although it is so huge that the love stories in the plot often are given minor consideration with the grandeur of the piece...thank heavens he doesn't produce an opera with less characters on stage. So most of the singers were overwhelmed by the large production and only Marina Poplavskaya managed to modulate the intensity of her singing for true emotional effect. She is certainly a newcomer who should reach the top very quickly with her felt emotion and her superb range that is always used most effectively. Otherwise Pang (singer not named in the program) had the best legato with a wonderful tonal quality that thrilled. Of the other leads, Marcello Giordani seemed nervous so that he had too many hesitancies especially as he entered "Nessum dorma" although he very nicely finished the aria and show complete power until the final curtain. Samuel Ramey should really quit singing as his is a constant tremolo that disturbs one listening to it. Maria Guleghina had a wonderfully strong voice but she lacked nuance and her epiphany in the third act was too strongly acted and sung...please give us some softer submissive tones. She also had trouble with her lower range throughout with noticeable garbled phrases. Again, even though each Met simulcast is a sell out right now, beg ...borrow...or steal to catch one of the forthcoming simulcasts. Some of the technicals...like shooting scenes from the light grid gives one thrills from above that are not available to the Met seated audience. These are bargain prices and one enjoys the excitement of being seated in the New York Met venue. (Reviewed by Bob Anthony)
*****
The Met came through with a powerfully effective grand opera 'AIDA' as appreciated roundly by the audience at the simulcast. It is recommended that all lovers of opera try to catch the re-broadcast. The settings were powerful; the voices were powerful; the direction was powerful; and the music under conductor Daniele Gatti was totally captivating. This most popular opera with Verdi's music nicely carried the listeners back to ancient Egypt with its romantic and political messages of the day. Mezzo Dolora Zajick as Amneris easily topped the other leads with her powerful singing as the Pharoah's daughter who must bear an unrequited love. Watching her breathing technique was a gem in her performance...which should be noted by all aspiring singers. She also managed to move from a conniver into a most empathic character by the end of the opera with her excellent dramatic flair. Usually a mezzo, Violeta Urmana tried a lyric soprano but she retained the beautiful coloration of a mezzo when she used the bottom of her range so that one would encourage her to consider continuing with mezzo roles. Her covered sounds which gave dramatic quality to the role were outstandingly pure and velvety. Johan Botha as Radames started off with some temolo but then moved into wonderful bel canto for the rest of his stirring performance. Carlo Guelfi was disappointing as the king/father with choppy voicing at first but he did come through with smoother voicing and finer acting later in the opera. There was one negative in the production...the choreography by Alexei Ratmansky was totally out of place as it was reflective of no Egyptian qualities but was more attuned to "Swan Lake" balletic movements with its jetes and turns. This is one of the finest grand opera productions ever seen by this critic. (Reviewed by Bob Anthony)
*****
The visible flaws of Luc Bondy's Met Opera's production of Puccini's "TOSCA" were amply outweighed by the emotional strength and vocal firepower of the three lead singers. Karita Mattila was an "ultimate" Tosca, Marcelo Alvarez was equally an "ultimate" Cavadarossi, and George Gagnidze was surely the "ultimate" Scarpia. With singing like this, the rather lackluster sets and vulgar touches which Bondy apparently cannot resist could not be overlooked. When Alvarez began "Recondita Armonia", the audience could settle back knowing that an afternoon of world-class singing lay ahead. Puccini's music is Wagnerian in its use of themes for the lead personalities, especially the evil Scarpia. Gagnidze dropped into his part like a statanic angel lapsing from grace with twisting eyes and a mouth that anticipated lurid inducements to lust or the satisfaction of dense sado-masochistic impulses. The three prostitutes in Scarpia's suite at the begining of Act II were unnecessary exaggerations of ideas already firmly planted at the end of Act I during the "Te Deum" scene. Subtlety, though, is not a strength of Bondy's directing sensibilities. "Tosca" is an opera of such extravagantly appropriate music that the background sets are like an additional layer of costumes. But the concept behind the sets for this production was invariably confused. For an opera set during the Napoleonic period, a cheap wooden American rocking chair from the 1930's was out of place in Scarpia's office. The totalitarian sensibilities of Scarpia hardly needed to be developed inside the rather fascist overblown architecture of Act II...one enormous room with two plush sofas for Scarpia's compliant maidens and a padded door hiding the bloodstained cell in which Scarpia's torturers could prepare prisoners for certain execution. The set for Act I was a curiosity...immensely high walls of Roman brickwork with not a single bit of marble in evidence. The large painting of a bare-breasted Mary Magdalene which Cavararossi was working on looked suspiciously like a portrait by the Russian painter, Nicolai Fechin, from the 1920-30's. Though sets and costumes underlined the themes Bondy wished to pull to the surface, Puccini's music does far more to stage and develop those themes. Directors like Bondy need to be restained lest they put their fingerprints all over core works in the theatrical or operatic repertoire. This said, the "Ted Deum" scene was breathtaking...one lavish moment in darkness. (Reviewed by Stephen Neal Dennis)
*****
Reviews Done Out of Town
St. Croix is probably the quietest place to visit as they "roll up the sidewalks at 5pm so one must adjust dinner hour forward. The bay was filled with small craft so it is clearly the place for the "snowbirds on ships". There is minimal evening entertainment although one might go to the key (access by motorboat) off the boardwalk in Christiansted to hear the steel drums. On Thursdays in Christiansted there is an art walk and there was wine flowing for the large crowd participating. Probably the most interesting gallery was the "Watch Your Step" run by Diane Given Hayes. Her present artistic task is the "Nature's Watchful Eye" in which she captures portraits of animals who are in danger of extinction. The most interesting was the "White Polar Bear" and in the eyes is reflected the melting ice caps. Other animals express dangers to their species. Also the "Art @ Top Hat" has wonderful local artists...the most impressive were Mark Mulberrin (fish with human qualities are delightful), Ronald Burns (human heads with flowers and leaves bursting over the crowns), and Claudia De Ledeber (lots of local work scenes...washer women, etc.). In Frederiksted one finds the Whim Estate which has a greathouse around which there used to be a sugar plantation. It has only one large bedroom but the house is filled with wonderful mahogany furniture and lots of donations by Victor Borge (the island was originally owned by the Danes). It is almost a replica of our Mount Vernon with cooking sheds and slave quarters and outdoor showers. When the Danes owned the island they insisted on English being taught to the slave children who were required to learn reading but not spelling??? If an estate owner failed to send the young slaves to school (run by Moravians...a reason for teaching reading was to familiarize the children with the Bible) the estate owners were fined until they sent the kids to school. While in Frederiksted, this critic joined a house tour joined by 150 people driving cars around that part of the island to see three estates. The most interesting was the "Estate Whim" (Richard Harris/John Conner)...again like the George Washington home with an outside porch that extended from end to end and overlooked the bay waters. It was a most comfortable interior with souvenirs from around the world...the dragon candlesticks being the most interesting. The "Estate Jolly Hill" was hexagon shaped with three separate pods...two of which were bedrooms. It sat on a hill with a wonderful overlook of the town and bay waters (now priced to sell at 485 thousand). The "Estate Prosperity" (Hortensia Lanio/Matthew Snow) was like a Long Island great house with wonderful Danish interior styles. (Reviewed by Bob Anthony)
*****
It was a comfortable balmy time in Houston to review some arts while the Northeast was being covered with snow and ice. The best art show in town was at the Houston Museum of Natural Science with the "Faberge: Imperial Jeweler to the Tsars" (To 4/4) Having seen the many imperial collections in European capitals, one has never encountered the shattering glory of light being reflected out from the Empress Josephine Tiara! But also in this exhibit is the Nobel Ice Egg made in shimmering shades of white as requested by the Swedish industrialist. The usual inside "surprise" was a rock crystal and diamond pendant watch. And there were dozens of earrings and cigarette cases, etc. with small diamonds and rubies that seemed impossible to grind down to be so perfectly matched. The Menil Colllection had two fine shows. "Body in Fragments" (To 2/28) is a small but well curated show with the top piece being Magritte's "The Eternally Obvious" which had a divided body (head to foot) in typically surrealistic manner. Also there is early 20th century's Joaquin Torres-Garcia with wonderful "Abstractions with Wood" which also includes samples of manufactured wooden toys for children during the artist's lifetime. The Alley Theater again comes through with a most delightful "A Christmas Carol- A Ghost Story of Christmas" which is a lot more spookier than usual productions of this classic but well balanced by a wonderful comic portrayal of Scrooge by Jeffrey Bean. Through all of his haranguing about the holiday, there is always a "pussycat" undertone that is a sheer delight. This year is the "end of career" for Bettye Fitzpatrick whose "Christmas Past" can never be replaced as it has been a most unique portrayal for this retiring actress after 50 years with the Alley. "The Christmas Revels" this year did the medieval celebration with its delightful costumes and presentation that was full of time and place for the audience. The highlights of this year's production was the Anglian Minstrels with Abby Green (voice/percussion), Brady Lanier (viola de Gamba), Nikola Radan (recorders), and Slobodan Vujisic (lutes). Mr. Radan got most positive response to his solos with his fine fingering...at one point he played the small recorder through his nostril which delighted the crowd. Larry Pisoni again proves to be the best American fool (clown) performing on our stages...he had the audience "eating out of his hands" throughout. And, overall, the city of Houston is well lighted with holiday cheer abounding. (Reviewed by Bob Anthony)
*****
Six rainy days did not stop this critic from reviewing seven museums and the Whirling Dervishes in ISTANBUL. The finest newer museums are the Museum of Modern Art and the Sakip Sabanci Museum. The MOMA is situated in an old warehouse near the wharf where one can see the large cruise ships. The interior is a perfect venue for abstract and minimalist art as it has steel frames abounding and a metal staircase. Currently it has a Sarkis:"Site" exhibit(To 1/10) which shows the artist's work over a 50 year period. The artist presents poster-like full wall scenes which the artist calls a "rendezvous exhibit" for his installations. The permanent collection is composed of mostly 20th century Turkish artists whose work is surprisingly derivative of art trends in Europe and the West. The SAKIP SABANCI MUSEUM is a strikingly beautiful modern museum attached to the Victorian home of Sakip Sabanci on a lovely terrace near the university. The museum currently has the work of Joseph Beuys and his students. There are photographics as well as paintings which are primarily minimalist...yes, some look like the artists may have still had a kindergarden innocence. Some of the permanent collection show color blocks like Modrian. The residence is also open for visitors and it has art objects from Sevre pieces to antique Japanese and Chinese pieces...it is totally breathtaking. And the photos suggest that it was always the place in Turkey for heads of state. The ARCHEOLOGICAL MUSEUM is not to be missed...particularly if one is interested in Roman and Greek antiquity...there is a wonderful collection of sarcophagi from early times...the most impressive is the Alexander and the Crying women sarcophagi. In one gallery there is the recreation of the Trojan horse which is outstanding. Also there is a separate museum of Oriental art as well as a fine collection of Turkish tiles in a separate home which is the oldest home to be found in the Old City. In the same area is the Topkapi museum which defies one's previous concept of extravagance...gold and jewels cover everything from swords to whole rooms. Also Mohammed's beard and one tooth are encased in gold cases. But the most spectacular is the Circumcision room that is awesome with some of the most beautiful tile work ever imagined. (This one is not to be missed). Around the corner is the St. Sophia huge cathedral. It still has remnants of the Ottomans' taste but the building has gone through Christian then Moslem design and now it is being renovated as a Christian museum piece. At the base of the hillside is the famous CISTERN that held the water for the city as it flowed from Bulgaria. It is an architectual wonder in a underground caves but Roman and Greek arches make it most fascinating. In the same area on No.4 and No. 28 along the hillside wall are father and daughter art galleries with fantastic Turkish paintings...the most impressive being of the dervishes. The WHIRLING DERVISH show is somewhat suspect as it takes place in a round cave like structure....so is it show biz? The dancing men don't really seem to be in a hypnotic state as expected but the audience gave no applause at the end of the show so almost all of the audience apparently accepted it as a religious Sufi rite. One last word...the Turkish people are the most pleasant people in the world who greet visitors with excitement and always have the tea pot ready to share their drinks...mostly apple tea which is very, very tasty. (Reviewed by Bob Anthony)
*****
The art scene in Miami gets better and better with each passing year. On this short holiday weekend trip, one stage show and two museums were reviewed and all three get top ratings. The Actors' Playhouse in Coral Gables has a totally delightful show to please the pre-baby boomers as four very talented actresses, "THE MARVELOUS WONDERETTES"(To 11/1) , donned appropriate dress and vocal power to present those old favorite songs of the 50's and 60's. The stage was set like a prom night with balloons with a "queen of the prom" to be elected by the audience. Amy Miller Brennan, Tiana Checchia, Julie Kleiner and Lisa Manuli cajoled with one another in high school fashion and all managed to belt out the oldies but goodies from the singing stars of the era from The Maguire Sisters to Patti Page and songs from "Mr Sandman" to "It's My Party". Oh, my, the memories that it brought back to the mostly senior audience!...a wonderful remembrance of budding lovers past! Director David Arisco gave plenty of playful business to keep the evening bouncing along. The musical has had a long run off Broadway and this Miracle Theater is the first regional theater to be given the rights to the show. So take your present lover (wife or husband) to see this supreme show as you both can dream of past lovers and confirm that maybe you made the "right choice" for life partner. The LOWE MUSEUM at the University of Miami has over 17,500 pieces of art of which 4,000 are prints...using the techniques of engraving, drypoint and mezzotint. Currently they had a group of art students at the university select a dozen plus of these works showing "Trends and Techniques". Some of the more famous ones are by Dali and Picasso but the most startling one is a portrait by Thomas Frye (18th century) who managed to give three dimensional effects using mezzotint. This museum is small but it has a wonderful varied collection from the old masters to current minimalist. It also has an outstanding contemporary glass collection in its Palley Pavilion. The FLORIDA INTERNATIONAL UNIVERSITY'S FROST ART MUSEUM is surrounded by dozens of lawn sculptures and is a gorgeous inside museum with large galleries with lots of natural light with so many wall windows. Currently they have a most impressive collection "The Missing Piece: Artists Consider Dalai Lama" from huge buddhas to audio visuals regarding yoga and other "contentment" monologues...one by the Dalai Lama. It is all so effective as it primes one when leaving the exhibit to appreciate "love and peace" that should exist in all of humanity. So it completes it message for the viewer. The museum's permanent collection is mostly abstract and minimalist with few figuratives. But this Dalai Lama is explosively effective in covering its theme. (Reviewed by Bob Anthony)
*****
Arrivaderci Roma! And a permanent goodbye to this graffiti capital of the world! I can't believe the city fathers cannot get the citizens to clean up their city...it is most disgusting tourist city in the world. And the transportation through the city is totally complicated regarding the metro and the bus system. And taxis...even though one insists on their turning on their meters...the drivers manage some excuse to double the fares. So it is recommended that one take organized tours since the private buses will make the rounds most effective and relaxing. However, there are still some great museums throughout the city expecially the Vatican and don't forget to see the art museum under the Sistine Chapel where artists from around the world have sent contributions to the Church of Rome. On this trip, I only managed to catch the Capitolini which is a fantastic archeological museum with art objects mostly contributed by Pope Innocent X...famous statues of Roman gods and goddesses in dress and undress. One gets the feeling that lots of hanky panky went on at the Papal residence which resulted in his being removed as pope...his reign started the word "nepotism" as he appointed so many members of his family to official positions. Currently there is a fantastic modern jewelry collection on display, "Oro di Roma" (To 10/11) , that is simply stunning. A second museum visited was the Galleria Doria Pamphilj ...a mansion of which half is still the home of the relatives of Pope Innocent X. The place is spectacular in design with every wall in every room filled with masterpiece paintings from Italian masters to Dutch masters. The most famous piece is the portrait of Innocent X by Velasquez. But there are also scenes by Guercino (means the squinter since he had eye problems) , Caracci, the Brueghels...and in the chapel one can find the mummified body of St. Theodora under glass ( a typical relic found in many major mansions). It was interesting to see children and dogs playing in the living quarters of this galleria. Of course, churches and cathedrals throughout Rome have wall paintings by famous old Italian masters. The one operatic evening attended was the I Solisti del Opera at the All Saints Episcopal Church in the area of the popolo. Soprano Marina Di Marco, tenor Marco Bianchi, baritone Clemente Frangiosi and mezzo Caterina Novak sang arias from most major Italian and French operas. Ms. Di Marco presented the finest La Traviata I have ever heard....her voice was liquid honey and her coloratura frills were divine. Mr. Frangiosi suggested the best future with his handsome looks and stunning baritone. Mr. Bianchi pushed his voice too hard so sometimes slid off key but he had a magnificent range. Miss Caterina Novak gave the best stage appearance but had ordinary voice with weakened end phrases. The string ensemble was superb throughout.
As negative as Rome was for this traveler, the Chieti region of Italy offers superb wines, excellent cuisine (too much at times) and delightful and helpful people who love tourists. The top sites visited were religious. The Holy Face Sanctuary in Manoppello had a cloth with Christ's face imprinted on it. It apparently wiped the face of Jesus after he was taken down from the cross and presented to his mother. The face shows a broken nose and bloody spots from cuts. It has been studied and it was determined that no paints were used on the cloth. In Loreto is the Nazareth home of the Blessed Virgin placed within a huge cathedral, "Our Lady of Loreto". The story is that the home was carried from Nazareth to Turkey to Croatia as Christians had to move out of the Holy Land. When Asiatic hordes invaded Turkey, angels carried the home to Loreto where a cathedral was built around it. And a magnificent cathedral it is...the ceiling is filled with iconic images and decorated with gold leaf throughout. Throngs of people are constantly in the church and the churchyard. I have never seen such a "piece of art" like this cathedral and I have seen legions in my travels. In Chieti ("la Civitella")and Pescara ("Museum of the People") there are many archeological museums that are simply fascinating as they show both Greek and Roman influences in the area. The one museum in Chieti also had some Egyptian art pieces. And the National Museum in Chieti had one of the finest coin collections pre and post the Christian era ever to be displayed. And, of course, the wine is the finest in the world. It was pointed out that the USA has only 15 varieties of grapes for wine...Italy has over 2500. Each town loves to compete with wine tastings. This Adriatic area has wonderful hilltop towns with the cathedral the central and highest point. And the mountains are filled with olive trees and grape vineyards that are finely manicured to present lovely scenic pictures. Do try this area for a quiet and relaxing vacation and to really enjoy the Italian experience. (Reviewed by Bob Anthony)
*****
The weekend of art shows in Prescott, Arizona started when one arrives at the Phoenix Sky Harbor Airport which claims to have the finest collection of native art and crafts in any airport in the world...and it is true as each terminal has a glass enclosed display case of superb works of art. Prescott was celebrating its annual Cowboy Poetry Reading weekend as people gathered at the Yavapai College with a legion of ten-gallon hats for the men and buckskin skirts for the ladies. The daytime shows gave a mixture of poetry reading (this year nicely with some free verse which avoided the predicted rhymes) and great guitar playing, singing and yodeling. The evening show started with the request to turn off the cell phones... and the ten-gallon hats! The top talent for the first evening was Don Edwards ...a wonderfully accomplished singer and probably the best guitar player ever. He is noted for his wonderful repertoire of the old cowboy songs but he also has appeared with symphony orchestras to show off his sterling cowboy talents. Prescott is the cowboy capital of the USA so it is highly recommended for those who fondly remember the old cowboy movie stars...actually the area north of this city is Sedona with its red hills that was background for many of the old westerns. The greatest display of western art is at the Phippen Museum with its collection of close to a thousand paintings and bronzes with about a hundred in its current display (To 9/20). It is currently celebrating its 25th anniversary and the current show is outstanding. Most of the works are by George Phippen and his paintings and bronzes are equal to Remingtons with action abounding throughout his works. There are 38 artists presented in this show from Joe Beeler to Robert "Woody" Woodcock. The finest is the delightful metaphoric huge bronze by Maher Nabuib Morcos...yes he is an Egyptian...titled "The only Indian is a good _____" which depicts an Indian on horseback offering water to a cowboy exhausted on the ground. This piece was part of the White House collection of Ronald Reagan. The most impressive paintings were the works of Ray Swanson which resembled ranch works similar to Andrew Wyeth New England scenes. This is a superior museum of western art that shouldn't be missed if one is in the Arizona area...hopefully they will soon realize a larger museum space to exhibit more of their permanent collection. Also impressive in the town of Prescott is the Mountain Artist Gallery with a fine collection of western and non-western art. Currently the work of Thomas Restifo from sailing ships to desert canyons is most impressive for their detail. Also Judd Lotts is presenting his jewelry boxes with parquet of woods from around the world. A couple of hours were spent watching the clay boxes being made by verbally delightful Karen van Barneveld-Price. Craft shows by artists are scheduled each Saturday and are free. Right outside of town is the amazing city construction by Italian architect Paolo Soleri called Arcosanti. This 90 year oldster has been directing his efforts to produce a high rise city in the middle of desert ravines. It is to be the future of current cities as everyone lives in this "city" without cars or a need to ever leave the compound. It is currently about 10 percent complete and one suspects that the idea may die with the passing of Paolo Soleri. Currently the only financial success is the making of wonderful brass bells and it is wonderful to walk down a path of bells and hear individual sounds from each bell. Nevertheless, one should take a tour of this complex to appreciate what a great mind Mr. Soleri has. (Reviewed by Bob Anthony)
*****
Even with the temperatures hovering in the 100-110 range, the museums in Dallas/Fort Worth are well air conditioned to enjoy the summer exhibits. The finest show currently is at the Meadows Museum on the campus of SMU. Mr. Meadows and wife provided the start of the hispanic collection which they accumulated during their trips to Madrid and they range through all of the famous Spanish artists of renown. Currently they have the cubist paintings of Diego Rivera (To 9/20) which he painted during the heyday of Picasso and Braque in Paris during 1913-1917. Rivera's paintings are interesting since he shows a love for his subjects as opposed to chopping them up to show distorted inner lives. The favorite here is "Angelina and Baby Diego". The other galleries have paintings by other Mexican artists who were developing special figurative styles during the same time period...Orozco, etc. This is a highly recommended show as it shows a different aspect of Rivera that is rarely appreciated. The Nasher Museum of Sculpture is across the street from the Dallas Museum of Art and it has a wonderfully designed inner and outer art space. The inner space is loaded down with a superb collection of works by Calder, de Kooning, Giacometti, Miro, Matisse, Moore, Rodin et al. The most exciting piece is outside. It is by Jonathan Borofsky and titled "Walking to the Sky". It is a 100 foot flagpole with seven figures walking up to the top along its 75 degree angle. It represents the power of aspiration. It is truly awe inspiring. The Dallas Museum of Art has a collection of over 23 thousand art pieces which covers the visual arts spanning five thousand years from ancient America to current American and international contemporary pieces. The finest is the early American which also has wonderful early American artifacts and furniture from colonial times. The favorite here is the small but superior impressionist painting collection and "The Icebergs" by Frederic Edwin Church which is especially fine to stand in front of during the summer heat as it drops the body temperature. This museum is the largest in the Southwest and is consider one of the top six in the nation. The Amon Carter Museum not only has the finest Remington collection of paintings and sculpture but it has the prize collection currently of the Harmon and Harriet Kelley "Collection of African American Art". (To 8/23) It covers the works of Black artists from the 19th and 20th century from Catlett to Johnson to Alison Saar. The favorites are William H. Johnson's "Jitterbugs" and Alison Saar's "Black Snake Blues" which replicates the suicide death of Cleopatra as the reclining depressed woman waits for the foreground snake to deliver the final blow. The museum also displays its Black art in an adjoining gallery. This is a highly recommended show as it is historically interesting as well as culturally impressive. The final show was the performance of the cowboy gospel show at the Opry house in Grapevine Texas. This showcase was cheered on by most church groups in the audience as it started with an invocation. It was programmed by the Southern Spirit quartet with a wonderful wailing counter tenor. A stunning singer, Cathy Lake, took up most of the second act with her Anne Murray look-alike and voice. Gary Frye probably had the best western attitude with his fully voiced baritone. Blonde and statuesque Ginny Lyon seemed to get the greatest applause. But the whole show was inspirational and full of talent. The city of Grapevine is "up the road" from Dallas and is full of Texan flavors. There is a huge Great Wolf Lodge and Gaylord Spa Lodge for visitors at the entrance of the town. The Gaylord is impressive as it has a glass covered atrium with gardens, toy train exhibits and inside fireworks at night. One wonders about the cost of keeping that huge atrium air conditioned. Anyway Grapevine seems to be a great place for a weekend with the kids. (Reviewed by Bob Anthony)
*****
The most dramatic part of the trip to Moscow and St. Petersburg was the disappointment with the changes in Russian society. It is almost completely Americanized with MacDonald's every other block. Young girls in blue jeans show their belly buttons and buttock tattoos as they laugh their way down the streets smoking cigarettes. Almost 70 percent of the people...young and old...wear jeans. So the wonderful exotic and ethnic colorations of the society are apparently lost forever. And the living standards go from the few rich billionaires to the poor seniors who get only 125 rubles a month to live on (30 rubles equal one American dollar). So many of them can be seen going into bakeries to order one slice of bread. Yet, they love Putin since at least they get their monthly checks on time and he appears to be attacking the rich barons to get more money into the hands of the middle and lower classes. They also love Obama even though most are unaware that the father of their Russian language was Pushkin who was also biracial as his great grandfather was an African Moor who served the czars. The museums are superb throughout the cities visited and the Amber room of the Catherine Palace in St. Petersburg offers the greatest thrill of any room on the planet. Plus the whole palace is outsanding in gold leaf and male caryatids that hold up each floor of the buildings. It is the one place to visit on a side trip. It is a photographer's dream land! As for the entertainment in both cities...it is outstanding. In Moscow, the opera "Iolanta" by Tchaikovsky was reviewed. (It played at the New Bolshoi as the classic Bolshoi next door is being remodeled). It is the story of a blind girl who eventually finds love and her sight even with the threat of death on her lover. So this lyric opera has a happy ending. The finest voice in this production was Mikhail Diyakov who played the second lover lead. His baritone was superior...very sonorous with fantastic overtones and he seemed to be the only one where emotional display was paramount. The other singers just seemed to want to face the audience and burst out with sounds...most satisfactory in voice...but not emotionally inspiring. The set was tremendous with Turkish embellishments around the stage that was another "actor" in the opera. The high spot was the "La Sylphide" at the New Bolshoi in Moscow. Artem Ovcharenko danced James superbly and for the first time the whole audience repeated "wow" as he did triple turn leaps into the air. The finest of the female dancers was Anna Antropova as his girl friend with her most assured turns and leaps. The amazing thing is that the Bolshoi was always known for its strong dance movements and stage action but the performers here were totally lyrical in their approaches with the exception of the lack of undulating arms by the corps dancers. In St. Petersburg at the Maryinsky (Kirov) the stunning "Prince Igor" by Borodin was on tap. The scenery was totally stunning with each change of five sets and the cast seemed to swell to over 150 people on stage at times...even a horse carried Prince Igor off to battle in a Cecil B. DeMille fashion. But the highlight was the terrific and lengthy powerful ballet to the Borodin music which was recognized as the melodies from the musical "Kismet". The choreography was a repeat of the original Michel Fokine work. The most stunning arias were sung by Sergei Semishkur as the son with his outstanding tenor range that only slightly failed him in the lower range. The conductor was Pavel Smelkov who at times didn't seem to get a balance from the left side of the orchestra especially at moments with huge rises in the music. But, overall, the Bolshoi and the Maryinsky companies raise the bars for any other companies in the world. (Reviewed by Bob Anthony)
*****
Certainly April is the perfect visit to Las Vegas...very warm during the day and comfortable at night. There was the average amount of tourists crowding the streets but playing in the casinos was decreased in most of the casinos visited. The statistic is that there has been a decrease in profits of almost 25% most likely due to the financial crisis. Yet the prices seemed to have doubled...ten dollars to ride a cab for less than a mile distance and $19 dollars for a glass of house wine. Fortunately there are a number of Denny's with menu prices at this national chains' meal prices. The shows again show minimal talent unless one considers "body beautiful" as a DNA talent. The exceptions were Danny Gans at the Encore Hotel Casino. He is a consummate performer as he effectively imitates the talents of singers and actors. His greatest bit was doing "Twelve Months of Christmas" and each month is a vocal imitation of a movie star. How he manages this is just amazing as he must imitate 12 actors as he runs the gamut of the months. He adds lots of current political and social comments and does a Johnny Carson threat if the audience doesn't laugh. The Criss Angel "Believe" again shows a major talent in this multi-talented acrobat/magician/telepathist now performing at the Luxor Hotel Casino. His show was added immeasurably by the show's sponsor Cirque du Soleil which provided exciting costuming and dancing for which they are incomparable. Mr. Angel does some amazing disappearances on stage and in mid-air. His only weakness is that he is a total egotist and demands constant adulation of the audience which took away some of the mysteries of the magic acts. He apparently has a tv series and nicely invited the audience to participate in the filming the following day. Four fine clowns warm up the audience with pass-throughs distributing of popcorn. The "Russian Ice Show" at the Riviera was slightly disappointing as it was pure slide skating with minimal leaps...maybe limited by the procedium stage. There was a runway into the audience which showed some thrilling pass throughs. Most of the acts included juggling while on ice skates or ladder building by the skaters. One male skater was upright as he moved around the stage on elevated stick ice skates. The costuming was again extremely well presented. MGM Grand's "Crazy Horse" was the most disappointing show. Most of it was film as the girls got dressed while nude backstage before they put on their half dollar coin g-strings. It would have been nice to be a "fly on the wall" of the dressing rooms. For a show replicating a famous Paris haunt, there was minimal French flavor except for two numbers sung in French. Most of the action on stage was posturing the body into sexual positions and/or having the derrieres lighted with hearts. The girls in the audience gave more responses than the men for some unknown reason. Most of the museums are closed due to the financial crisis. Bellagio still has one and it is currently showing "Lichtenstein, Warhol and Friends". It is a small show of a dozen or so well recognized paintings by these abstract, minimalist and pop art artists from the Museum of Contemporary Art of San Diego which provided lots of visual and synesthesia reactions. The finest thing was the wall charts which gave a didactic on the whole modern art movement...a great learning experience so it is highly recommended. The surprise museum...like the Funeral Museum in Houston, Texas...is the Erotic Heritage Museum which seems to contain all of the erotic art ever created...a lot from the Orientals. But there are samples of soft porn movies and books as well as all of the copies of Playboy and Playgirl magazines. It was interesting to view some of the early porn movies which are totally tame from the more recent ones...or so I am told. The piece de resistance was a scupture of a male genitalia constructed from 100,000 copper pennies. Double-dare you not to get sexually excited on the tour. Certainly this museum is perfect to represent the sin city of Nevada. (Reviewed by Bob Anthony)
*****
The 20th annual Natchez Literary and Cinema Celebration this year presented "Southern Women Writers: Saluting the Eudora Welty Centennial". This celebration of this noted Mississippi writer drew together her friends and her readers in Natchez...a city that blends New Orleans charm with a small town "Mayberry". This community boasts 500 antebellum buildings showing differing architectual styles from the French to Spanish to British to Southern planters. Each home has envious details and trivia. No celebratioin would be complete without lunch at King's Tavern with 18th century foods. Gracious peple, beautiful homes and gardens and an inner charm that harkens back to a simpler time all combine to draw tourists to Natchez where garden clubs open their doors. It doesn't take long to see why Southern states and old southern mansions have developed so many prize winning authors and artists with such inspirations. (Reviewed by Celia Sharpe)
*****
The immediate contrast found in Santo Domingo, Dominican Republic is the people's dislike of Americans (for the military invasion of their country by the USA) and their idolation of "Obama"....if one just mentions that one is an American they go "ga ga" over our new president. Santo Domingo itself is probably the finest metropolitan area of all of the Carib nations except for the wild taxi drivers who feel no compunction about going the wrong way down one-way streets. And don't take taxis from one's hotel as it is 10 American dollars flat fee if one is going ten blocks or ten miles. And, one is cautioned about taking street taxis but they don't seem city controlled and none appear to carry any cab registration signs. The city is weak in the arts especially the National Theater/Opera House that has no bookings for weeks at a time even though this is carnival season. The finest museum is the Museum of Modern Art which is a well planned out museum with an excellent permanent collection and traveling shows thanks to Maria Elena Ditren who is in charge. Most of the modern art is abstract with minimalist works abounding. The best figurative art was Luis Desangles "Birth of Venus" with flying angels surrounding the Venus. Currently there is a fine mixed media show by Antonio Miro (not related) who is a well established regional artist. Raquel Paiewonsky has a delightful show of silk stockings filled with sand and posed as bat-like hangings from the ceiling and a huge canvas of birds with human faces flying into the future. The wonderful press person at the museum, Margarita Grullion Perera, deserves high praise for her handling of this critic. She arranged for a tour around the Plaza de la Cultura Juan Pablo Duarte and the Museum of Man had lots of pre-Columbian works all the way back to the original Indians as well as a huge display of objects used in carnivals throughout the Caribbean with fantastic masks. She also recommended the Museo Bellapart which amazingly was in a full floor suite on the 5th floor of the huge Honda Auto Sales Park. Wow! The current show was a huge collection of the works of Jaime Colson. Most were self portraits and nudes with more sex organs presented than at a nudist colony...even his nude angels had sex organs attached. He went through most of the art phases from classical through impressionist through abstraction. It was truly a most impressive gallery and gets a high recommendation for any trip to Santo Domingo. A city tour was taken since the price of taxis would far exceed the tour costs. A visit to the old city was very impressive with its cathedrals (the Jesuit one now used for crypts since the Jesuits were expelled from the country...it had a wondrous paradise/hell mural by Rafael Pellicer that compared quite well with a Michelangelo) and tourist shops and a huge pigeoned square. Two outside the city proper visits were to the underground cavern of three lakes that was housing for the Indians...with too many steps down toward China to dissuade the unhealthy and the aged. And there was a new behemoth building to hold the remains of Christopher Columbus...they still deny his remains are in the cathedral in Seville, Spain. All places related to the voyager contributed to the huge structure about the size of the Capitol building in DC. An unexpected find was at the Secretaria de Estado de Cultura which had artists from around the country present works of the Blessed Virgin and the Child...the results ranged from classical works to abstract blotches. It was truly a fascinating look at how different artists project their own creative ideas. And, don't forget, the Amber Museum is absolutely divine as they present the story of amber and point out the value of the different pieces. It is the finest semiprecious stone museum in the world. They also now cover the story of larimar the exciting sea blue stone that receives so many compliments. (Reviewed by Bob Anthony)
*****
The Disney Crusie Line performances are not to be missed if you have the opportunity to engage in an adventure at sea. This critic and her family did the Eastern Carib trip which included the ship shows "Twice Charmed", "The Golden Mickeys", "Disney Dreams" and comedy and ventriloquism by "America's Got Talent" Michael Harrison. Shows would impress any theater goer and will amaze everyone from age 3 to 103 with the dazzling costumes, elaborate sets (despite having up to six different sets on one stage), and acting/singing of Broadway caliber. Shows involved standard Disney characters with original story lines and lasted less than an hour which easily maintains the attention of the young and the tired. (Reviewed by Stefanie Rosinsky)
*****
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Movie
The script of an alcoholic "has been" country western singer could be considered tacky but the very natural acting of Jeff Bridges and Maggie Gyllenbaal makes this movie, "CRAZY HEART" at the E Street Cinema one of the most riveting life stories not often seen in the cinema. Yes, the rise to the top can exhilarate but the drop downward until Bad Blake must compete with the noise of a bowling alley is very poignant indeed. The lifestyle of this ex-cowboy singing star takes on deeper meaningfulness about life's choices and disappointments. Plus one feels sorry for the rising star, played by Colin Farrell, who will face his own epiphany in the future. This film really is universal in theme for most people following any career. Robert Duvall, really looking very old physically, does an effective job as the owner of a country western bar who helps his entertainment-friend in dire need. Another big surprise in this film is the wonderfully themed music by T Bone Burnett and Stephen Bruton which adds immeasurably to the effectiveness of this lovely, romantic story. This film is the most recommended one on current cinema screens. (Reviewed by Bob Anthony)
*****
It's titled meaninglessly "44 INCH CHEST" and it truly is a script for a theater stage as five men huddle in a seedy waterfront-type hovel to seek revenge for their friend whose wife (Joanne Whalley) has fallen in love with a toy boy and intends to leave her husband played very emotionally by Ray Winstone. Think Sam Shepard! The friends in heavey Brit accent and all encompassing locker-room language encourage vengeance on a bloodied, blindfolded young man who transgressed...played effectively with no words by Mevil Poupaud. The friends Ian McShane, John Hurt, Tom Wilkenson and Stephen Dillane all have their sexual and social hangups yet they glory in detailed ways of punishing the young lad. John Hurt is the most effective particularly as he relates the similar story of "Samson and Delilah" as snippets of the movie with Victor Mature and Hedy Lamarr are shown. Again this is story that would best be played on the stage as, as a movie, it sometimes loses credibility. On the stage dramatic license would make it more suspenseful. Director Malcom Venville, however, got excellent acting from every one of these screen actors. (Reviewed by Bob Anthony)
*****
It's the movie of the year at the E Street Cinema that is basically the biography of Orson Welles and his famous stage production of "Julius Caesar" at the Mercury Theater in New York City. It is called "Me and Orson Welles" and theater lovers will go ga-ga over it as it brings back fond memories of treading the boards with a genius director. And casual movie lovers will delight in the wonderful direction which delivers some wonderful tidbits about the contrast between stage work and film work. Young star, Zac Efron, gives a magical performance and is definitely headed for the big time as he is arresting in all of his scenes with perfect acting style with great dramatic depth...his final song in the stage performance of the show with a ukelele is riveting. Christian McKay plays Orson Welles and his also is an award winning performance with his commanding temperament that produces the classic production of this Shakespearean play on Broadway. Claire Danes plays the go-getter for the company and the romantic and sexual interest and, although she acts well, she is somewhat miscast against Zac and Christian. This is my most highly recommended movie for 2009. (Reviwed by Bob Anthony)
*****
The E Street Cinema also has "Young Queen Victoria" and the script is full of faults...poor dialogue that confuses with unfinished action shots and a most contrived plot about the young queen trying to take on royal duties. Screen writer Julian Fellowes even tries some violent scenes between the Queen and Prince Albert to falsely give some action to the film. The movie's only saving graces were the elegant dances and coronation with fantastic costuming and superb sound effects. Emily Blunt as the queen is an elegant beauty but she lacks full dramatic range and Rupert Friend as Albert manages to get by with his handsomeness. Paul Betany as Lord Melbourne offer the only successful acting presence. The only thing we learn from this movie is that Victoria and Albert lived some great romantic moments in bed...which is obvious historically as they had nine children. (Reviewed by Bob Anthony)
*****
The National Gallery of Art does film retrospectives which are free to the public. Currently they are showing Alain Resnais films starting with his 1968 "Je t'aime, je t'aime". This is a film about a recovering suicide victim selected by a group of scientific experimenters to sit inside a large machine shaped like an oversized clove of garlic beside a little pierced globe containing a lively white mouse and , like the mouse, travel backward in time for a moment. The experiment is initially only partially successful. Though the patient does travel backward in time, his arrival"destination" is quite unstable and the screen shows the patient erupting into several moments of his past...out of sequence...and sometimes repeatedly. Then the experiment deviates into unexpected territory as the movements backward achieve longer arrival times and whole episodes of the patient's previous life can be relived. Eventually, the predictable outcome is achieved and the patient not only re-enters his previous life but begins to relive and reshape it. A successul suicide effort during one the the longer backward moments is a disappointing conclusion for the scientists and leaves a dying body on their neat lawn though the white mouse, perhaps a less complex creature appears to have survived unchanged. The Resnais' legendary "Last Year at Marienbad" (1961) followed which was a film that became for a generation of college students the ultimate enigmatic foreign film. The film is dominated by the presence, both interior and exterior, of an immense European luxury hotel surrounded by a vast formal garden in the 18th century French manner. If there is a plot it hardly matters as the visual splendor and tantalizing "social " relationships among the characters are only explored on the surface but the surfaces are of such splendor that human emotional truth is entirely secondary in this profound search for artistic stimulation. The conundrums of memory, imagination and perception reverberate through the space of the film and repeat themselves in the mirrors of a world that will be hermetic or claustrophobic according to the viewers' sensibilities. The "time" of the film is only hinted at by several references to 1929 but surely it is the late 1930's before the intricate inherited world of the haute bougeoisie exploded into the turmoils of World War II. Do go to the NGA site for announcements of their film showings. (Reviewed by Stephen Neal Dennis)
*****
"Captain Abu Raed" at the E Street Cinema is a fine movie for its wonderful scenes of Amman, Jordan. The movie is plodding as the director, Amin Matalqa, just spends too much time on facial reactions and movements up and down stairs. The story is about an older man, nicely played by Nadim Sawalha, who finds an air captain's hat while on a janitor's job at the airport which convinces the youngsters in the neighborhood that he is the "real" thing so he tells tall tales of his supposed travels around the world. He then tries to better the lives of the youngsters that he has befriended. One Udey Al-Qiddissi wishes to leave his home and away from his violent, drunken father. A female air pilot, Rana Sultan, gets involved in the solution of the problem although the rest of her appearances center around her father's trying to marry her off. Yes, connections in the story line are far fetched. A fine movie if one doesn't doze off. (Reviewed by Bob Anthony)
*****
Also at the E Street Cinema is "Cold Souls" which serves its purpose if one is interested in brushing up on one's Russian language. Half of the movie is filmed in a transplant center in Russia where souls are kept for implantation for people who want to donate and/or get another "soul". Paul Giamatti runs out of facial and body expressions which diminishes his acting skills. Emily Watson as the wife delivers the best performance in the movie. The story is not unlike Gogol's farce,"The Nose", but truly lacks much humor. Blame Sophia Barthes who simply slows the action to "stop and go" throughout the two hours. Some scenes add nothing to the story line although they provide fine cinematography. So "some scenes" and the "Russian Language" are this film's selling points...otherwise the movie lacks "soul". (Reviewed by Bob Anthony)
*****
"Humpday" tells the story of two college rascals who went different ways during a ten year separation. The one continued to be a lovable societal reject (Joshua Leonard) who traveled the globe and the other a settled down young man (Mark Dupliss) with wife and home and expecting to grow a family. A midnight knock on the door brings them together. Then, the family man is drawn into a wild party with sexual by-play and innuendos and these friends agree to participate in "humpday"...a festival of artistic porn...by doing a two male sex movie. The beauty of the movie is the fine directing by Lynn Shelton who managed to allow the two to engage in amazing ad lib throughout so the naturalness of their actions seems totally acceptable. There is some sexual pairing and vulgar language which will limit this movie for youngsters. Adults will admire the positive communications of the two friends and the wife. (At the E Street Cinema) (Reviewed by Bob Anthony)
*****
"In the Loop" is a laugh-out-loud British comedy in which diplomats, secretaries of state, country leaders and the military argue about going to war along the corridors of power from London to Washington,DC to the United Nations (sound familiar?). Brit actor,Tom Hollander, makes a convoluted statement favoring going to war and he is never able to "stop the verbal ball rolling" all the way to the United Nations. The funniest character in the move is the General played by James Gandolfini who "kicks ass" and destroys furniture on any whim. But the whole cast are tops in their differing comedic styles. There is excessive vulgar language (it seems unbelievable that such language is accepted at the highest levels of government but this critic has never been there) and some potty references. Again it is not a movie for youngsters. The audience at this showing were totally enthralled and filled the theater with repeating laughter. (At the E Street Cinema) (Reviewed by Bob Anthony)
*****
"The Stoning of Soraya M" at the E Street Cinema is the most gripping movie of the year. It tells the story of a wife who is falsely accused of adultery by her husband because she simply touched the hand of her employer and was seen smiling at him. She was working as a housemaid for the husband and son of a recently deceased friend. The situation was contrived by the husband who wanted to divorce her to marry a young beauty. It is a true story reported by top notch actress, Shahrah Aghdashloo, to a French Iranian reporter, Freidoune Sahebjam. The final scene is the bloodiest ever that even tops the death of the Christus in "The Passion of the Christ"...it is gruesome enough to keep eyes averted for long periods of time as black dressed women groaned in the background. Moshan Marno plays the lead with agonized yet benevolent passion, and Navid Negahban plays the cruel and villainous husband. There are pangs of pain to see him encourage the two young sons to throw stones at their mother in the gravel pit. Overall one wonders why American women's groups don't protest such vicious behavior in some Moslem countries as well as the current throwing of acid into the faces of women who simply look at men on the street. So this film is highly recommended for all women but husbands should attend also to get reinforcement for their more humane approach to our women...with few exceptions. The only problem with the script is that the Moslem husband contrives to have the wife killed in order to marry a young beauty when, in fact, Moslems are allowed up to four wives if they can treat all four equally in regards to attention and financial needs. It is interesting also that this film is an Israeli production when one considers that such murder was approved in the Old Testament. ( Reviewed by Bob Anthony)
*****
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Visual Arts
Every American should see the current show at the Renwick Gallery as it covers the art work of the Japanese Americans who were committed to internment camps during the critical years of World War II. Every Japanese American with a 1/16th Japanese bloodline had to report to these camps, mostly on the West Coast, which is where the majority lived. Yes, some of them were professional artists...like Naguchi (one of his early sculptures is on display)...but most were farmers and horticulturists who just brought forth their creativity for "The Art of Gaman" (To 1/30/11). So, on display, are the wonderful wood carvings, paintings, quilts, Japanese dolls with scrap materials that was all that was available to them. Unlike other imprisoned ethnic groups, only one person tried to escape and was shot. And, amazingly enough, they all just trashed the art work they had completed when finally released after the war except for a few who had the items stashed away in their attics and garages without any intention of sharing them. Delphine Hirasuna spoke at the press opening (she organized the show) and told poignant tales about the interment camps and the subsequent denial of the internees. It reminds one of the well-known refusals of American troops to discuss the World War II after their return to civilian life. Overall, it is another chapter of "democratic" repression of groups of Americans including Indians, Blacks, Chinese and social groups over the centuries. Yes, every American should see this show and weep. (Reviewed by Bob Anthony)
*****
Karen Mitchell Starika is making her debut as "architect as artist" at the Artique Underground Gallery and Volt Restaurant in Frederick (To 4/4). Having spent over 25 years as a preservation architect, Karen's "Art of History" exhibit is a collection of historic structures and architectural details that have been delighfully altered and embellished as expression of her creative energy and artistic imagination. To the asymmetrical shapes, curving forms, zigzag designs, whimsy and other features of art deco and art nouveau inherent in many of the original structues, Karen has added brilliant colors and unusual textures to enhance the visual appeal. Only a few of the buildings were recognizable to this reviewer since Karen has drawn on photographs from cities around the country where she has lived and visited. (Reviewed by A. Beverly Ford)
*****
The Phillips Collection has become the second of three sponsoring museums for "GEORGIA O'KEEFE: ABSTRACTION" (To 5/9) to show the works in exhibition. Many of the works are by a comparatively young artist still exploring her own sensibilities and forging an artistic personality. The intriguing personal life of O'Keefe and her complicated relationship with Alfred Steiglitz began in 1916 at the time of the earliest works in this exhibition. Some artists are so startlingly, even radically, innovative that it is difficult to know where to place them in art history. William Blake, Samuel Taylor Coleridge, Alexander Scriabin and Oliver Messaien are merely four exaamples, but four to keep firmly in mind when looking at O'Keefe's works where strong emotions are so visibly-perhaps messily-but mysteriously displayed. Blake developed a personal mythology but the generations of admirers have found ways to ignore the mythology and still appreciate Blake's fascinating deviations from the calmness of the late Georgian period in Britain. Samuel Taylor Coleridge's "Kubla Khan" remains one of the most tantalizing poems in the English language and, despite scholarly efforts to explore the literary precedents which became intermingled in Coleridge's fertile imagination, the magic of this incomplete and rather dreamlike poem has never become dissipated. Scriabin explored the possibilities of synthesia..."seeing" colors in music and his strongly perfumed music had moved well beyond the tradition of Russian salon music toward a far more personal utterance. Messaien, a self taught expert on bird calls, wrote music of progressively greater and more abstact intensity. Both of these composers "heard" things in their music that the average listener would miss. What these four writers and composers highlight is the risk of looking too intensely at the early work of a genius, as that work may ultimately prove less revealing than the fully realized later works. The constant tension in American art between realism and abstraction is largely ignored by the new O'Keefe exhibition which thus simplifies an important issue in American art. (Reviewed by Stephen Neal Dennis)
*****
A visit to the Katzen Gallery at American U. is highly recommended as their new show (To 3/14) is absolutely stunning in creativity and intent. The finest figurative work is found in the work of Alan Feltus and Lani Irwin which is entitled "Personal Interiors" and definitely "interiors" since there is some stunning nude works as couples have breakfast, read letters and do other daily chores even though some suggest lack of communication as the characters live in their own real or imagined world. The works are oil on linen which gives a wonderful richness to the paints. Ms. Irwin suggests she gets some ideas looking at the stain glass windows in the nearby cathedral in Assissi, Italy. The WPA group is called "Cream" and it is a mixed bag from figurative to abstract with only one horrible one of a steel wool chimney atop a garbage can which is aerated by a fan for movement. All of these works of art will be put up for auction which is a yearly event for this home-grown group of artists. Robert Devers has some wonderful circular drawings and enamelware (maiolica) that is totally gorgeous in colorations. Titles like "mandala" and "abrahadabra" suggest his spiritual intent for the viewer. Also, there are lots of religious and cultural themes of both Italy and Mexico where he did most of his work and teaching. Well known local artist, Tom Green, presents mostly abstract and iconic picturizations with lots of "stick figures" abounding. They are joyful to look at not unlike the works of Klee except some are wood block and mixed media on paper. (Reviewed by Bob Anthony)
*****
The Corcoran Gallery of Art is going through a physical plant renovation but has room for a fine traveling show from the National Museum of Wales (To 4/25). It is part of the collection of two Welsh sisters, Gwendoline and Margaret, who had keen eyes for art colorations and compositions from "Turner to Cezanne". They contributed 280 paintings and sketches to the Welsh museum and 50 plus are in the present Corcoran show...most of which have never been on view in the United States. These two socially shy sisters managed to collect during the period when there was a crucial movement in the visual arts during which time there was a revolution in style, theme and technique. The recognized hands of the artists is still seen in most of the paintings from Corot to Renoir to Turner...the only strange deviation seemed to be a very abstract work by Manet whose style and content was difficult to discern. But the show is an award winner and should encourage a large number of museum goers. Just to view Renoir's "La Parisienne" is an unmatched afternoon treat. And combined with the Chester Dale show at the NGA, one can spend a day in artistic 7th heaven. Reviewed by Bob Anthony)
*****
Some paintings become so famous that their images are literally seared into the minds of a generation of museum goers. In Washington where the magnificent Chester Dale Collection is normally spread across many galleries at the National Gallery of Art and interspersed with paintings from other generous sources, a group of paintings whch by the terms of their bequest cannot be loaned to other museums can easily be overlooked as a grouping. Now that 83 of the Dale paintings have been rehung together in the lower galleries of the Mellon Building of the NGA, the rooms in which the paintings appear are like a progressive fireworks display, building to the culmination of the astonishing juxtaposition of Picasso's noble "Family of Saltimbanques" of 1905 with Manet's elegantly melancholy "The Old Musicians" of 1862. These are surely two of the greatest paintings in Washington from the 50 years that span their creation. The NGA has cleverly "excavated" from its immense collections a blockbuster exhibition that was literally hiding in plain view. Only the Barnes Collection and the Cone Collection in Baltimore might rival the Dale Collection for importance for the period "From Impressionism to Modernism". Washington hotels and restaurants should brace now for an invasion of art-lovers who will be crowding each other in galleries likely to become rather cramped once word gets out. Chester Dale was an immensely successful Wall Street financier whose name has been largely forgotten outside of Washington for three reasons: Dale had no children, he was not a member of a "great" American family, and his unlendable largese was concentrated on the fortunate NGA for which Dale was president for several years from 1955 onward and which he often advised on financial matters. Dale bought great paintings in the same way that some collectors might buy boxes of chocolates. Substantial means were joined to an informed taste but always there was desire joined to the sheer passion of acquisition. (Reviewed by Stephen Neal Dennis)
*****
It's the Reginald F. Lewis Museum on Pratt Street in Baltimore and it is the most structurally beautiful newer building that totally invites you to enter it. It is as gorgeous inside as outside with nice open galleries, a fine gift shop and a little cafe to chat with friends. The chat for the next two months will center around it current show, "GRAPHIC WORKS OF ROMARE BEARDEN" (To 3/28), that gives an outstanding look at the wonderful works of this jazzy artist. What is new in this show about Bearden are the frontespieces that he created for books and theater programs over the years. And there is a supreme group of religious paintings with a most inspirational "Mother and Child"...also a group of classical Greek and Roman stories with the "Invasion of Troy". Most of these works are family owned so it is the first time that gallery goers have seen them. The only thing missing is a collection of his jazz groups with we are so familiar. So this is a quieter show but so much more introspective and emotionally fulfilling. (Reviewed by Bob Anthony)
*****
All russophiles and art lovers definitely should see the "THE TIMKOV COLLECTION" (To 2/20) at the Strathmore Mansion. Not only are the paintings breathtaking but the curators, Dr. Alison Hilton and Dr. Curtis Sandberg, give outstanding gallery essay plaques throughout describing the political, social and artistic happenings during the years that Nicolai Timkov lived and painted (1912 to 1993). How he managed to paint impressionistic and surrealistic art works when confronted by the dogmatic Communist government's demands for portraiture and revolutionary themed artwork is a most dynamic story. Most of his works are of the countryside and some glorious snow scenes. When they say that Eskimos have 50 words to describe snow...Mr. Timkov manages to texture his "snow" most dynamically. The collection is owned by Mr. and Mrs. Timothy Wyman who should be very proud of their collecting his works and should be congratulated for sharing them with the public at this time. Mr. Timkov is bull faced like a "Brezhnev" so was is amazed at the sensitivity of his brush work. (Reviewed by Bob Anthony)
*****
The DC/AC has a most fascinating show "Black" sponsored by the Black Artists of DC (To 1/10) that has an admixture of painting and art styles but all themed around "blackness". The artists were instructed to use as much "black" as possible in their works but to splash them with racially colored passions. The consummate artist is Arcmanoro Niles' "David with the Head of Goliath"...an absolutely fascinating work that crowns the show. There is an artist talk and reception on the closing day of 1/10...should be most inspirational. (Reviewed by Bob Anthony)
*****
You, readers, and your holiday guests will just love to see the Strathmore mansion decked out with holiday decorations although the greater reason to visit are the two superb art shows there presently. "Near and Far: Paintings by the Washington Society of Landscape Painters" is sponsored by one of the oldest active art organizations in the greater Washington area. And this year's paintings take you through the seasons with landscapes from snowy fields to rippling brooks. A few of the favorites for this critic are Edward Ahlstrom's "Rapidan River near Wolftown Va."; Daniel Wise's "The Falls"; and Barbara Nuss's "Days End". And tops was Lani Browning's "Nanticoke River" which shows a bayou ready for canoes to take off on soft glides. But, the greater art show is the "76th Annual International Exhibition of Fine Art in Miniature" which is a judged show of works by artists from around the world. The winner of top prize in realism went to MacArgel Gail's "Serenity" which shows two swans in a floating scene which is just simply awesome. These little works of art sell from $150 to the thousands of dollars but the work done with one or two hair brushes is just amazing regarding details. It is a must see show! (Both shows until 1/2) Also there are legions of holiday gifts at the mansion gift shop which is one of the finest in the area. (Reviewed by Bob Anthony)
*****
The National Geographic opened its blockbuster show with the dazzling "Terra Cotta Warriors" (To 3/30/10) that may well be the best curated show ever. Even the little school kids seemed to be in ecstacy as they wrote copious notes about the items being displayed. The over 1000 soldiers of China's first emporer, Qin Shihuangdi, conquered all of the territories for the emperor and he in return had them caste in terra cotta in order to protect him as he entered eternity. (There may be up to 7,000 items still to be unearthed at the burial site which is the top archeological find of the 20th century.) But the last gallery with well diorama-ized soldiers with horses and carriages made of bronze, silver and gold leaves one breathless with awe. On a Monday morning at 10 a.m. the day's tickets were totally sold out...so rush to your computer or telephone if you want to take family and friends for a holiday treat. The gift show is amass with beautiful Chinese pieces for holiday gifts. (Reviewed by Bob Anthony)
*****
The Austrian Embassy is showing the work of Soshana (nee Susane Schuller) who escaped from Austria with her family and settled in New York. Her first work was figurative and included many portraits of famous political, social and artistic persons. She then studied in Paris and turned to abstractions which are the most interesting. Most of the work suggest depression no doubt due to her hectic life style of escapement. Her two finest pieces are "Alone in N.Y. I" and "Alone in N.Y. II" which show a shadowy figure walking down a deserted street with the huge towering skyscrapers ready to collapse on the figure. Her "Gaza" is jagged color lines full of violence and desperation. Certainly each picture brings forth an emotional response from the viewer. (Reviewed by Bob Anthony)
*****
Wow! the Newseum get bigger and better all of the time. Currently they are opening "Inside Tim Russert's Office: If It's Sunday, It's Meet the Press" that nicely covers the intimacy of "the man" who never had any affectations and was so loved by all TV viewers. The simplicity of his Catholic/catholic life made him a fine model for his family and other males throughout the world. Significant was his love for his home town of Buffalo and his love for baseball...there is a box full of autographed baseballs in the exhibit. There is a picture board of all of the world leaders who were interviewed by this man who everyone admitted that he was always fair minded. It is a lovely tribute to this announcer. Also the Newseum has a number of current exhibits: ""FBI Exhibit: G-Men and Journalists", "Athlete", "Manhunt: Chasing Lincoln's Killer" that are chilling in the depth of portrayals. But the most outstanding is the huge block of the Berlin Wall and the pen which Gorbochov used to reunite the East and West Germany. (Reviewed by Bob Anthony)
*****
"FALNAMA: THE BOOK OF OMENS" (To 1/24) at the Sackler Gallery is a fantastic show not only for the "drop dead" gorgeous paintings but for the chronological story line that shows the similarities between the Koran and the Old Testament of the Bible as well as the Shiite/Sunni contentious relationship over the centuries. Although the names are different in Arabic we see the historical figures (Solomon, Joseph, Adam and Eve) amidst different interpretations of the same story lines. And who would have imagined that Alexander the Great was a descendent of the King of Persia (Barab) as he sent the pregnant mother, the daughter of Philip of Greece, back to her homeland because she "had such bad breath"! Yes, there a lot of charming anecdotes reflected within these paintings. Particularly interesting was the last gallery which told of the end of the world, the anti-Christ, and the judgement in heaven where the dead held their "life" books that were then weighed to determine exit to heaven or hell depending on the weight of the listed "good" deeds. The Sackler staff is to be highly congratulated for managing to put this collection together from galleries around the world. It is a wonderful show for the whole family as it looks at life and death from the get-go in the glamorous Garden of Eden. Just what are your beliefs? Bet you can match them as reflected on these grand canvases. (Reviewed by Bob Anthony)
*****
For the next two months, the most interesting museum exhibition in the Washington area may well be the Baltimore Museum of Art's "MATISSE AS PRINTMAKER". This free exhibition of 170 works by Matisse began with a traveling exhibition circulated by the American Federation of Arts to show 63 prints owned by the Pierre and Tana Matisse Foundation. The BMA has supplemented the AFA exhibition with an additional 107 works drawn from it incomparable holdings of Matisse works (mostly from the world famous Cone collection)...the most important grouping of this artist's work now owned by any museum inthe United States. The curator for the current exhibition is Jay Fisher, the BMA Deputy Director for Curatorial Affairs and Senior Curator of Prints, Drawings & Photographs. The catalog for the exhibition which covers only 63 works in the original AFA exhibition is available at the BMA shop. Many of the wall labels are hung relatively low which will make the exhibition easily accessible to visitors in wheelchairs. Doodlings of genius might be one description of the exhibition as it is hung to show often several interpretations of the same situation...perhaps a single model in various poses as preparatory studies for later paintings. When possible, the BMA has hung major paintings from its collection amidst related prints. Whether Matisse was studying problems of line or problems of light and shade, the exhibition is full of suggestions about how the mind of a great artist developed over time as he continued to study the female form or the human face. The exhibition opens with two states of wonderful drypoint self-portraints by Matisse that shows the artist drawing. In his essay in the printed catalogue, Jay Fisher calls the prints of Matisse "an enormous visual library". Fisher also comments that "what made Matisse so devoted to the illustrated book format was that it enabled the artist to publish images in sequence". The exhibition is so dense that at points it appears more in the nature of a slide show than an exploration of one artist's working processes. (Reviewed by Stephen Neal Dennis)
*****
Quelle Triumphe! Liana Paredes, senior curator of western art at Hillwood Estate, Museum & Gardens, was beaming as she took two groups of press representatives through her superlative "retrospective" of Sevres porcelain from the period 1750-2000..."SEVRES THEN AND NOW" (To 5/30/10). This exhibition, several years in the making and extraordinarily involved on the diplomatic, curatorial and financial fronts, came together at the last minute as couriers, the 86 ojects or groups of objects, cases, labels, insurance policies and donors assembled for the press opening and a grand celebratory dinner! Each viewer is likely to select a few favorite pieces to examine closely. Unfortunately, there is no check-list of the exhibition except in the fairly expensive full catalog which will be on sale at the Hillwood gift shop. The exhbition is full of surprises...historical surprises as well as artistic surprises. A plate designed by sculptor Alexander Calder , two egg-shaped vases almost certainly purchased on behalf of the "Compte du Nor" (Grand Duke Paul of Russia traveling "incognito") in 1782, portions of the enigmatic 1979 "Ruins of Egypt" centerpiece (so important that only curators from the Sevres museum are allowed to move them), and three figures from the legendary scarf dance centerpiece first made in 1900 are only a handful of the treasures in this exhibition. Forms, colors, painted decorations...this is decorative art of the very highest possible achievement and often with a provenance that is royal or imperial. The condition of the pieces, even when history suggests that adversity has overtaken most of the service as in the case of the "Service des Liliacees" made for use at the Tuileries Palace, is outstanding. The rather ugly "Madame de Pompadour" tureen and platter of 1990 were made by Limoges in four 18th century colors in editions of 25 for each color. The pink color is luridly vivid and the panels containing female portraits are too photographic in nature to be impressive. Wisely, Ms. Parades does not discuss this startling object in her catalog. (Reviewed by Stephen Neal Dennis)
*****
cities. It should be every citizen's duty to go through this exhibit...particularly the young who were not around in those tragic times...perhaps it would engender respect for their elders...a lost art currently. Also the museum has a concurrent "MOVEMENT" which shows a number of paintings of the turbulent times. The museum is planning a "get on the bus" tour from cities around Baltimore...including Washington...to take people to this exhibit. If interested go to www.AfricanAmericanCulture.org (Reviewed by Bob Anthony)
*****
There is a great new tourist spot (Madame Tussauds) in the nation's capital! It is the all-family-and-friends place to view some of the wax replicas of famous Americans with a few foreigners thrown in who were involved in United States history. Madame Tussauds and her family started with the French writer, Voltaire, and, today, her artists continue using her well-known skills for capturing the spirit of each model. Even today, the sculpting artists in London insist on personal interviews so as to measure the body, the hair, the eyes and the attitudes of the models. This DC unit is the newest of the Madame Tussauds' so they are still limited in space and wax figures presented but they do manage to present celebrities from film, tv, music, politics, history and sports. The audio-visual of the sculptors at work is excellent as well. AND ONE CAN TAKE AS MANY PICTURES AS ONE LIKES WITH THE WAX FIGURES! There is a promise of additions being made in the near future. Presently, the coverage is enough to justify the entrance price. It should definitely be a venue stop for all of those school outings in the nation's capital. Just make sure to bring your cameras along! (Reviewed by Bob Anthony)
*****
The Spy Museum keeps the young and the old entertained and informed. The exhibits include information on artifacts used in tradecraft, interactive exhibits on audio surveillance, threat analysis, and how to maintain one's cover. There is a good mix of media and activities and plenty of opportunity to imagine working in the strange circumstances of the spy world while one appreciates activities that were done during various periods of time from the biblical era to the present. There is a current exhibit about "Hollywood and Spies" that displays various posters and even an Oscar won for a spy film that was awarded during the cold war. The complete tour takes approximately 2 hours. A great place for adults and children, and youngsters under the age of 5 are admitted free. (Permanent) (Reviewed by Nancy McCord)
*****
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