Wednesday, April 22, 2026

Sad lives, sad book, the Dionne Quints


Ontario Premier Mitchell Hepburn with the Dionne Quintuplets when they were about six months old/unknown photographer, Wikipedia


I ran across The Dionne Years: A Thirties Melodrama  (1977) in an obituary of the last of the Dionne quintuplets, Annette, who died Dec. 24, 2025 at age 91.

Pierre Berton (1920-2004), the author of The Dionne Years, interviewed some 50 persons for this book, many with direct knowledge or relationships with the Dionne quints.  He furnishes notes but no bibliography. He wrote about 50 other books, plus many more for juveniles.

It’s a fast read. 

On May 28, 1934 in a small village in Ontario, midwives delivered the first of the quints followed by Dr. Allan Roy Dafoe who delivered the last ones. 

After their births, a reporter called the doctor about every 20 minutes inquiring about the babies' health, but since no other quintuplets had lived longer than a few days, the doctor had little hope for their survival.

The house had no electricity, and the babies were kept warm near the oven. They were fed with an eye dropper every two hours and attended by three nurses, one who was always on duty.


Their total weight was 13 pounds, six ounces with the largest weighing 2.5 pounds and the smallest, Marie, 1.5 pounds. 

None were longer than nine inches.

When Dr. Dafoe permitted a member of the press to see the infants wrapped in blankets, their father, Mr. Dionne, when he arrived home threw the person out. Mr. Dionne had a reputation using a pitchfork when it came to curiosity seekers, 

Another time, after a reporter took the babies outside for some sunshine, a nurse exploded in a verbal tirade when she discovered them.

That the babies were born midway through the Great Depression (1929-1939) provided an pleasant escape for everyone (or, perhaps for those curiosity seekers, rather like our astronauts today).

Mothers donated breast milk. Various vendors supplied their baby and medical needs. 

With five older children, the Dionnes were hard up for money, and their father and Dr. Dafoe agreed with promoters to permit the babies to go on display at a Chicago event which their mother later rejected.

The Canadian government used this incident as proof that the quints needed protection for their well-being and passed a law seizing them from their family.

When the parents were criticized for trying to make money off their children, it was Dr. Dafoe and the Canadian government who profited. 

The public treated Dr. Dafoe like royalty.  In 1943 alone, the good doctor Dafoe pocketed $182,466 (equivalent to $3,328,991 in 2025).

 For several years, the quints were the number one tourist attraction in Canada, surpassing Niagara Falls and equal to attendance at Mt. Vernon and Gettysburg in the U.S.

Retailers paid thousands of dollars to have their products pictured with the quints.

To enable the many people who came to see them, a play area was constructed on the Dionnes' property ("Quintland,") where visitors through a one-way screen could watch the children play, but the children could hear the visitors and the screens were not totally opaque.

Curiosity seekers were admitted 100 at a time to watch or about 3,000 a day.

For several years the girls lived in a nursery built for them with round-the-clock care like at a hospital, under the strict supervision and care of Dr. Dafoe and specialized nurses, the doctor who grew to love the children, as did the nursing staff.

Dr. Dafoe kept them under a strict regimen and to meet public expectations, had them dressed alike until they were five years old.

On pages 125-126, the book says a March 1936 article in Cosmopolitan by the renowned Dr. Alfred Adler (one of the triumvirate with Freud and Jung) likened their hospital residency to "inmates of a model orphanage and a certain emotional starvation,” and in later life, the sisters recounted their growing-up years in much the same way, urging parents not to treat their children as showpieces as they had been raised.

Acting as their father, Dr. Dafoe prohibited much contact between the children and their parents who were treated in the press and elsewhere as if they were dumb, blind, and ignorant.

The parents did not attend the quints' first birthday extravaganza when press services, all three US radio networks and more were invited. Said their father: “We don’t consider it an honor to be invited by pure strangers to visit our own children.” (p.108)

Some of the celebrities who came to see them included Bette Davis, W. K. Kellogg, and Amelia Earhart and her husband five weeks before Ms. Earhart disappeared in the Pacific Ocean. (Most source say six weeks before she disappeared.)

The Quints grew up, some got married, joined a convent, starred in three films, divorced, and in later years, realized little to nothing from their famous births.

 

patricialesli@gmail.com   






Thursday, April 2, 2026

No White House Ballroom!

Citizens protest the Trump ballroom at a meeting of the National Capital Planning Commission, Washington, D.C., April 2, 2026/By Patricia Leslie
Citizens protest the Trump ballroom at a meeting of the National Capital Planning Commission, Washington, D.C., April 2, 2026/By Patricia Leslie
Citizens protest the Trump ballroom at a meeting of the National Capital Planning Commission, Washington, D.C., April 2, 2026/By Patricia Leslie
Citizens protest the Trump ballroom at a meeting of the National Capital Planning Commission, Washington, D.C., April 2, 2026/By Patricia Leslie
Citizens protest the Trump ballroom at a meeting of the National Capital Planning Commission, Washington, D.C., April 2, 2026/By Patricia Leslie
Citizens protest the Trump ballroom at a meeting of the National Capital Planning Commission, Washington, D.C., April 2, 2026/By Patricia Leslie
Citizens protest the Trump ballroom at a meeting of the National Capital Planning Commission, Washington, D.C., April 2, 2026/By Patricia Leslie
Jon Golinger of Public Citizen shows letters received in opposition to the Trump ballroom while citizens protest the ballroom at a meeting of the National Capital Planning Commission, Washington, D.C., April 2, 2026,/By Patricia Leslie
Jon Golinger of Public Citizens shows boxes of copies of 35,000 messages, of which 97% opposed Trump's ballroom, at the citizens protest today in Washington, D.C., April 2, 2026 /By Patricia Leslie
Citizens protest the Trump ballroom at a meeting of the National Capital Planning Commission, Washington, D.C., April 2, 2026/By Patricia Leslie

Thursday, March 26, 2026

Royal Shakespeare's outstanding 'Hamnet' at Shakespeare Theatre Company

 

Rory Alexander and Kemi-Bo Jacobs as William and Agnes Shakespeare in Hamnet at Shakespeare Theatre Company/Photo by Kyle Flubacker


Attention, theatre-lovers: For the best acting you'll see anywhere, the Royal Shakespeare Company and Neal Street Productions' Hamnet onstage now at Washington's Shakespeare Theatre Company is a must.

The show sold every seat and broke box office records in Stratford-upon-Avon before it crossed the pond to run in Chicago, Washington, and San Francisco, the only U.S. venues.  

Most of the original cast came with it. 

The play is based on Maggie O'Farrell's bestselling historical fiction, adapted by Lolita Chakrabarti.

Hamnet was the only son of William Shakespeare (1564-1616) and Anne Hathaway (1556-1623) who was born with his sister, Judith, a twin, in 1586. 

Shortly after their birth, William Shakespeare (Rory Alexander) left his wife (Kemi-Bo Jacobs) and family to pursue writing and acting in London.

When Judith (Saffron Dey) suddenly became ill with plague symptoms when the twins were 10 or 11, a  message was rushed to their father who hurried home.

But by the time he got there, Judith had recovered and Hamnet (Ajani Cabey) lay ill or had already died, likely before his father arrived. 

To escape the suffering and grief, Shakespeare returned to London and continued his career. 

After his death, the parents took solace knowing their son would live on in his father's works.  

At the time of Hamnet's death, Shakespeare was writing comedies which he continued for several years until he began turning out his greatest tragedies, Hamlet, Othello, Macbeth, King Lear, Julius Caesar and others. In them scholars find links to Hamnet.
 
William and Anne whose name is changed to Agnes in the novel and in the play, married in 1582 when Anne was pregnant with Susannah (Ava Hinds-Jones), their oldest child.
 
Most sources say they didn't have a good marriage, and naturally, the fault is Anne's since evil rests with women, believed by some then and now. (See Eve in the Garden of Eden.) 

Anne was eight years older than William, and it is suggested that she and her family trapped Shakespeare who was abused by his own father (forcefully played by Nigel Barrett). 

For those who have never had a baby, Ms. Jacobs delivers three times in excruciating agony. The play centers on her emotional and mental turmoil which Ms. Jacobs performs with conviction and credibility.
  
Tom Piper's set design of scaffolding on three levels recalls the outlines of 16th century English Tudor housing, looking like the house where Shakespeare was born, with a loft which becomes a bedroom. 

Like mice scurrying from place to place, it's mostly women who come and go, quickly changing the scenes by moving a rectangular table back and forth on the first level.  

Every so often birds sing (sound by Simon Baker), reflective of Anne's love of them, their freedom and their homing return like William makes it from time to time.

Heard in the final act: "Let us eat and drink for tomorrow we die."

Others in the cast are Penny Layden as William's sympathetic mother, Mary, while Troy Alexander is Agnes's understanding brother, Bartholomew who rescues his sister more than once. Also, Elizabeth Connick, Heather Forster, Karl Haynes, Nicki Hobday, Matilda McCarthy, and Bert Seymour (the last two, the dance and fight captains, respectively). 

Oğuz Kaplangi’s  captivating music, mostly heard during scene changes, foreshadows the tension and conflict.

Prema Mehta's variable lighting techniques contribute to the sad environment and mood. 
The artistic team includes the director, Erica Whyman, the RSC acting artistic director; fight director, Kate Waters; movement director, Ayşe Tashkiran; and stage managers, Marius Arnold-Clarke, Chloë Forestier-Walker, and Laura Smith.
About 2.5 hrs. with a 15-minute intermission.
Special performances are:
Audio Description - Saturday, April 4, 2p..m
Open Captioning - Wednesday, April 8, 12p.m. | Thursday, April 9, 7:30 p.m.

Shakespeare Theatre Company, Harman Hall, 610 F St., NW, Washington, DC 20004. Now through April 12. Tickets start at $39 with discounts for those 35 and under.  Enter code 26U35 in the promo code box; subject to availability.
Phone: 202-547-1122.

patricialesli@gmail.com

Thursday, March 19, 2026

'Head over Heels' in love at Prince William Little Theatre

 

From left: Pamela (Brittany Washington), King Basilius (Chris Anderson), Queen Gynecia (Jolene Vettese), Dametus (Andrew Morin), Mopsa (Meredith Kilmartin), and Philoclea (Grace Miller) in Prince William Little Theatre's Head Over Heels, on stage through Sunday night/Heather Regen Photography


It’s quite a combo to mix 500-year-old characters with today's hipsters, but that what the Prince William Little Theatre has done with its latest show, Head Over Heels, an adult comedy on stage through Sunday night at the Hylton Performing Arts Center in Manassas.

It's all about the royal family of Arcadia on a musical journey to save its "beat" as the Oracle Pythio has warned the nobility to act now or forever forget their kingdom.

What's love got to do with it? 

Why it makes the world go 'round, of course, especially when the King and Queen of Arcadia (Chris Anderson and Jolene Vettese) have two daughters they're just itching to get hitched.

In a gentle but authentic performance, Grace Miller is Princess Philoclea, the younger daughter, who is smitten by Musidorus (Nathan Peck), a mere shepherd boy and not good enough for his offspring, thinks the king.

The older daughter, Pamela (Brittany Washington), is the more beautiful child (she says so herself), with so many suitors, what's a poor girl to do? 

(She eventually wakes up to love in the most conspicuous of places. Thank you, handmaid Mopsa [Meredith Kilmartin].)

The Royal Couple isn't the happiest of married couples, it soon becomes obvious. To be kind: They tolerate each other but they got the beat and shout out "This Old Feeling" when the king's eyes shut so tightly I thought they were permanently glued. 

It was a stunning delivery (the king also doubles as music director) like the queen's exasperations and wifely responses known to too many wives throughout Arcadia. (Make that, the world.)

Pythio (Clayton Alex Jones) comes on scene (an absolute killer whenever they make an appearance with sweeping gestures and exaggerated slow talk), surrounded by aides wearing head dresses of rhinestoned snakes.  

The non-binary oracle adds to their allure that that "heaven is a place on earth" if we become more tolerant and generous to those around us. 
 
Clayton Alex Jones is the Oracle in Prince William Little Theatre's Head Over Heels on stage through Sunday night/Heather Regen Photography

Although language in the show is rated "g," it's got the best simulated sex scene I've seen, moving to the audience's whoops and whistles.  (Wowsers! "Love with a Stranger" is not sung.)

Also in the cast is Andrew Morin as Dametas, the king's courtier and Mopsa's father.

This show has lots of action and great duets, particularly when Princess Pamela and Mopsa sing duets and harmonize.  

A big painting in the middle of the stage announces scene changes to show exactly where on their trip the Royal Family is. (Joey Olson, set designer.) 

It's no surprise to learn the costumes (by Susy Moorstein and Riley Leonhardt) are a mix of yesterday and today.

The welcome six-member band, under the baton of Matthew Scarborough, is mostly unseen on an elevated platform. 

Members of the creative team include Melanie McGuin, director and choreographer; Laura Mills and Melissa Jo York-Tilley, producers; Cristina Casais, assistant choreographer; Kasey Moore and Esther Wells, stage managers; Leonhardt and York-Tilley, hair and makeup; Draconia Craig and Melanie McCleerey, properties.

Also, Ken and Patti Crowley, lighting; Tim McCleerey, sound; and Lanny Warkentien, lion tamer.

With adaptation by James Magruder, Jeff Whitty wrote this "jukebox musical" of mostly popular tunes from the past, like those by the "Go-Gos" featured at the show. 

With fees included, tickets are $35 for adults; $29, seniors and students; $24, military and children The Hylton Performing Arts Center, 10960 George Mason Circle, Manassas, VA 20110. Ticket office, ph. 703-993-7759.

patricialesli@gmail.com


Tuesday, March 3, 2026

'Elvis in Concert,' yes, he is!


Elvis is alive and well up on the big screen and the surround sound music takes you there!

 It’s a must see at IMAX!

 Let the foot tapping and stomping begin!

Many times I caught myself smiling, laughing, and I had to exercise restraint to keep from clapping at the end of some songs because I forgot I wasn’t at a concert! 

It’s a first-person experience!

The movie is all Elvis talking and singing, with backstage interviewers asking questions and other than that, the only voice is mostly his. 

His biggest hits are, natch, here and not just snippets but most with close to full versions and some, new to me.

He often, many times (!) kissed women in the audience who literally threw themselves at him, some even making it to the stage, hard to consider in our security-conscious world today.


His Army career from 1958 to 1960 didn't deter Elvis long, and after formulaic movies, he returned to the venue he loved the most: in front of a live audience which is what we were at the University of Tennessee in Knoxville on April 8, 1972.

I must say it wasn’t a great show then: too short, he didn’t come back to the stage to sing one last song and from our vantage point (near the ceiling), he was no bigger than the size of the tip of my little finger. 

Readers: This film is much, much better than our personal experience!  This is live!  This is solid entertainment!

In Las Vegas he performed to constant sold-out shows, sometimes twice a day, losing four to five pounds.

His huge orchestra was much bigger than I ever envisioned. Elvis seemed to love joking around with his backup singers and crew, loved by all. 

He was such a sexually hunk of man, so appealing with those beautiful blue eyes, long eyelashes, and mannerisms.

Except for an accompanying song, his marriage to Priscilla (b. 1945) is treated wordlessly with videos of his daughter, Lisa Marie (1968-2023) as an infant and toddler.

Nearing the end of the film, I wondered how his death would be handled:  respectfully, as it was.  

Epic: Elvis in Concert is a great escape from the world today.

A note near the end says between 1969 and 1977 Elvis gave 1,100 concerts, sometimes three a day including the year he died, 1977.

It’s been years (say, Butch Cassidy and the Sundance Kid? Waaay back in 1969 ) that I’ve wanted to see a movie twice. 

I be goin’ back to Elvis

And if you don't like Elvis (1935-1977), you'll like Elvis!

Congratulations to Baz Luhrmann for the Best Documentary and a rockin' good time at the movies!


patricialesli@gmail.com


Tuesday, February 24, 2026

WWII German prisoners in the Soviet Union





That’s the subject of Susan Grunewald’s new book From Incarceration to Repatriation: German Prisoners of War in the Soviet Union (2024) that she presented virtually at a recent "Long View" session at the Kennan Institute.

The sessions are forums dedicated to books and ideas about the former Soviet Union.

Dr. Michael Kimmage, the Kennan Center director, and Maria Lipman, visiting scholar, interviewed Dr. Grunewald of Southern New Hampshire and Louisiana State universities, posing some questions asked by the virtual audience.

The conversation explored the millions of German prisoners of war held in the Soviet Union, before and after WWII, seven years longer than held by any other Allied nation. 

Dr. Grunewald said she stumbled on the subject accidentally when she was in Russia teaching English and a woman complimented a building which, she said, was constructed "precisely" by Germans.

What was this about?

Dr. Grunewald started her exploration which led her over the years to Russian state archives, German sources, memoirs, East and West German newspapers, encyclopedias, and, 
aided by the geographic information system, maps of labor camps and prisons. She found more than 4,000 of the 4,300 prisoner labor sites.  

Although Russia’s state military archives has thousands of documents, Dr. Grunewald said Russia lacks a central repository and accounting of its prisoners of war.

The German POWs were not supposed to mix with Russians but they did, due to the country’s dire need for workers and manufacturers’ pleas for assistance, the main reason the Germans were held captive for so long.

The prisoners drove trucks and gave rides to waiting bus passengers, especially young girls, the free Russian population accepting that not all German POWS were bad. Some of them stayed in dorms.

In extreme weather conditions, they worked outside, often clothed inadequately, and according to memoirs Dr. Grunewald found, they sometimes lacked adequate nutrition.

However, they were fed propaganda, educational programs and carefully selected Russian films. 

Did they believe what they saw and heard?  

The May 1945 figure for German prisoners in the Soviet Union numbers three million, but December’s figure of the same year and January 1956 both recorded 1.5 million POWs.  

What happened?  

The numbers do not make sense and Dr. Grunewald noted their huge discrepancy and debate, information which was still classified in 2016 and 2017 when she was doing her research.

Altogether, seven million Germans were held in captivity by the British, French, and the Americans.

When the soldiers returned home from Russia after the war, those returning to West Germany received compensation, but those returning to East Germany got none.  A few Germans decided to stay. 

Although she is unable to access Russia’s archives now, German archives have been helpful, she said.

The Kennan Institute, formerly associated with the Wilson Center, is now independent with a committed mission “to improving American understanding of Russia, Ukraine, Central Asia, the South Caucasus, and the surrounding region through research and exchange.”

Go to the Kennan’s website for more sessions. 


Thursday, February 19, 2026

Shakespeare's 'On Beckett' is Oh, Beckett!

 Bill Irwin is Samuel Beckett in Shakespeare Theatre Company's On Beckettby Craig Schwartz

 Bill Irwin is a Tony Award winning actor, director, writer, choreographer, star of stage and screen, and devotee of Irish author Samuel Beckett (1906-1989) whom Irwin portrays in a solo performance at Shakespeare Theatre Company

Last Saturday night's crowd at On Beckett enthusiastically welcomed Irwin's Beckett show, Beckett's large photograph making up a big chunk of the initial black backdrop. 

For all those who know something and more about Beckett and for those who want to know more, it is an evening of pleasure.

Beckett was born in Dublin, Ireland, the winner of Nobel Prize for Literature in 1969, a modernist writer of all things bleak, sad, tragic, and absurd who wrote in English and French and is best known for End Game (1957) and Waiting for Godot (1952) from which Irwin read excerpts and periodically presented brief biographical Beckett sketches. 

"We have time to grow old.  The air is full of our cries.  But habit is a great deadener." 

Irwin also quoted from Beckett's Texts for Nothing about old men searching for new meaning in new places.

"Yes, I was my father and I was my son. I asked myself questions and answered as best I could....the same old story I knew by heart and couldn't believe, or we walked to each in his world, the hands forgotten in each other."

Irwin, who bears a striking resemblance to his subject, created the show which he complements with clown antics (he studied at Ringling Brothers and Barnum & Bailey Clown College) and bigger pants, jackets and suspenders he puts on.

In keeping with the minimalist Beckett content, the stage (by Charlie Corcoran) was the same with bench and podium (from which sprouted an unruly microphone) which became a screen for Irwin's ascents and descents. (You have to be there.) 

James Joyce was Beckett's mentor and friend who often wore a bow tie (he gave one to Beckett), a cravat Irwin wore, too, with, at times, a bowler hat, and a cane.  

Irwin, 75, is the first performing artist to be awarded a five-year MacArthur Fellowship

The performance lasted about 90 minutes and seemed much shorter. 

Michael Gottlieb's excellent positioning of  spotlights and lighting from above and behind the audience cast Irwin's shadow on the backdrop. 

Other creative team members: Martha Hally, costumes; M. Florian Staab, sound; Lisa McGinn and Natalie Hratko, stage management.

Special performances include:

Open captioning: 2 p.m., Feb. 21; 12 p.m., Mar. 4; and 7:30 p.m., Mar. 5

Audio description:  2 p.m., Feb 28

Young Prose Night (under 35): 7:30 p.m., Feb. 20

What: On Beckett

When: Now through March 15. 2026 

Where: Klein Theatre, Shakespeare Theatre Company, 450 7th Street, N.W.

Tickets: Start at $35

Box office:  202-547- 1122

The show is an Irish Repertory Theatre production made in association with Octopus Theatricals.

(Of note:  Google no longer permits links to Wikipedia.) 

patricialesli@gmail.com