'Blithe Spirits' land in Alexandria

From left are Cameron McBride (Dr. George Bradman), Eric Kennedy (Charles Condomine), Eleanore Tapscott (Madame Arcati), Sarah Cusenza (Ruth Condomine), and Raeanna Nicole Larson (Mrs. Violet Bradman) in Little Theatre of Alexandria's Blithe Spirit/Photo by Matt Liptak

The Little Theatre of Alexandria stages another welcome classic with Sir Noël Coward’s Blithe Spirit, a comedy that’s been around longer than most (b.1941) and there's a reason for its continual return to the world's stage: It's a treat and a (sky) lark (?)! A great escape!

Percy Bysshe Shelley in 1819: "Hail to thee, blithe Spirit!"

It was England and World War II when the bombs were dropping a'plenty, but its citizens needed a respite every now and then, like we all do (like now).

To the manor house, they go, some, from the “other side.”

Ruth (Sarah Cusenza) and Charles Condomine (Eric Kennedy) are hosting a dinner party in their elegant home with friends (who are real life husband and wife, Cameron McBride and Raeanna Nicole Larson) and a “medium” (Eleanore Tapscott).

Charles is a famous novelist and plans to milk medium Madame Arcati for any tips she can give him for a story he’s writing.

Things do not go as planned. Madame Arcati is anything but "medium."

Post dinner, she becomes a big scarlet macaw (whose colors Madame matches), sweeping around the room, landing momentarily at one spot or another before flying to her next perch with a wingspan of almost four feet, while the other adults in the room sit in amazement, mouths ajar.

Katie Weigl is Elvira in Little Theatre of Alexandria's Blithe Spirit/Photo by Matt Liptak

Madame conducts a séance and unwittingly summons the ghost of Charles’s first wife, Elvira (Katie Weigl), who died young, after only five years of marriage.

And here she comes, through windswept doors, the sassy Elvira, dressed all in grey, a long flowing gown with cape and face color to match.

Like all ghosts, she flits around the stage, rushing left to right and back again, throwing her hands in the air and seeking to disrupt Charles and Ruth’s marriage.

Charles is the only one who, initially, can see and hear Elvira, her teasing which begins to create havoc in the Condomines’ household.

Ruth can hear Charles speaking to Elvira and thinks his words are meant for her.

Charles to Elvira: "I could drink you under the table."

Ruth: "There's no need to be aggressive, Charles. I'm doing my best to help you."

A few minutes later, Charles tells Elvira to "shut up!"

Ruth: "How dare you speak to me like that!"

(Ms. Cusenza’s Ruth is splendid, talking to a wall or sofa or portrait on the wall, the piano, wherever she thinks Elvira sits or stands, not an easy task to perform with someone who is not there but is there. [Huh? You have to be there.])

Soon, there’s a murder and now there are two ghosts, each in ghostly grey apparel and caked in heavy grey makeup (which made me wince to think about removing it. Maureen Roult designed the hair and makeup).

Just what a man needs: Two wives screaming at him simultaneously after a brief interlude in a menage a trois ahead of chaos. (May I suggest to a producer that he or she exchange principal roles so the wife endures two ghostly husbands?)

The setting is absolutely divine, darling (by Julie Fischer), the parlor of a 1930s luxurious home where the servant, Edith (Caroline J. Berger) runs hither and yon or slows (per Ruth) to serve tea and refreshments to gents and ladies whom costumers Jean Schlichting and Kit Sibley have dressed to the nines: the women in floor length silken gowns with gloves and fancy jewelry, the men in equal getup.

Which ghost “wins”? Come, blithe spirits, see and laugh at them.

The biggest “star” of the night was the superb acting by all the characters, no disappointments by nary a one. Hats off to director Ward Kay, assisted by Liz Isbell.

Other crew members are David Correia, sound; Ken and Patti Crowley, lighting; Maureen Dawson and Jennifer Rhorer, stage managers; Olivia Hinebaugh and Misty White, combat and intimacy directors; Meredith J. Ludwig, producer; Monique Morman, technical director; and Emilie Pade, properties.

I’ll have one of those cucumber sandwiches, if you please and thank you.

What: Blithe Spirit

When: Now thru Sept.19, 2026, Thursday – Saturdays, 8 p.m., Sunday matinees, 2 p.m.

Where: Little Theatre of Alexandria, 600 Wolfe St., Alexandria, VA 22314  

Admission: $30 (fee, included)

Duration: Almost three hours with one intermission

Audience: Mature teens on up

Language: A few “adult” words sprinkled here and there 

Parking: Park for free on the streets or at the nearby Capital One Bank. 

For more information: Box Office, 703-683-0496; boxoffice@thelittletheatre.com

patricialesli@gmail.com 

Something for everyone at the Women's Museum

Marlo Pascual, Untitled, 2014; National Museum of Women in the Arts, gift of Tony Podesta Collection/By Patricia Leslie

Another view of Pascual's Untitled, 2014, showing the scale/By Patricia Leslie

The National Museum of Women in the Arts has something for everyone and coming up are free days, Sept. 6 and Sept. 9, the first Sunday and the second Wednesday of the month, when there's no charge for admission.

From large photographs of Marlo Pascual’s renderings of a woman’s face encased inside a broken cracked glass or another woman's face covered by cardboard, to more traditional fare like Lavinia Fontana’s 16th century portrait of a wealthy bride, guests find much to trigger interest and conversations.

From Remix: The Collection, Lavinia Fontana, Marriage Portrait of a Bolognese Noblewoman, (Livia de'Medici Bandini?), c. 1599, oil on canvas, National Museum of Women in the Arts, gift of Wallace and Wilhelmina Holladay; frame funding by Texas State Committee.

Marlo Pascual, Untitled, 2009; National Museum of Women in the Arts, gift of Heather and Tony Podesta Collection/By Patricia Leslie

Marlo Pascual, Untitled, 2014; National Museum of Women in the Arts, gift of Tony Podesta Collection/By Patricia Leslie

Marlo Pascual, Untitled, 2011; National Museum of Women in the Arts, gift of Heather and Tony Podesta Collection/By Patricia Leslie

In addition to Pascual, the museum features Burnished: Pueblo Pottery, 24 clay ollas, seed jars and bowls from the museum’s growing collection of American Southwest pottery (but hurry up since this exhibition closes Sept. 27, 2026; on the first floor).

And, in several galleries on the third floor are old and new NMWA accessions in Remix, with Fontana's portrait and many more, through Jan. 16, 2028.

From: Remix: The Collection, Berthe Morisot (1841-1895), Jeune femme en mauve (Young Woman in Mauve), 1880, gift of Joe R. and Teresa Lozano Long

From: Remix: The Collection, Lois Mailou Jones, Arreau, Hautes-Pyrenees, 1949, oil on canvas, National Museum of Women in the Arts, gift of Gladys P. Payne. 

The museum’s permanent collection supplies the featured presentation, Marlo Pascual: Making Something Out of Something, in the small galleries on the second floor with 17 works by Pascual (1972-2020) which she made between 2009 and 2014 using “found” materials she obtained from vintage shops and from Ebay.

It's the first solo show in 15 years of Pascual's works, the artist's life cut short by cancer at age 47.

From: Remix: The Collection, Alison Saar (b. 1956) Scorch Song, 2022 of wood, found mini skillets, nails and tar and Lavinia Fontana's Marriage Portrait of a Bolognese Noblewoman, (Livia de'Medici Bandini?), c. 1599, both from the collection of National Museum of Women in the Arts/By Patricia Leslie

From: Remix: The Collection, Suzanne Valadon (1865- 1938) Girl on a Small Wall, 1930, National Museum of Women in the Arts, gift of Wallace and Wilhelmina Holladay

Lisa Holt and Harlan Reano, Jar, 2025; Natural clay with acrylic paint; National Museum of Women in the Arts, Bequest of Sandra A. Kruzman. This exhibition closes Sept. 27, 2026/By Patricia Leslie

From: Remix: The Collection, Sarah Bernhardt, (1844-1923), Apres la Tempete (After the Storm), c. 1876, marble, National Museum of Women in the Arts, gift of Wallace and Wilhelmina Holladay/By Patricia Leslie

From Remix: The Collection, Beverly Penn, (b. 1955), Maelstrom, 2011; bronze; National Museum of Women in the Arts, funds provided by the Geiger Family Foundation/By Patricia Leslie

Detail of Beverly Penn, (b. 1955), Maelstrom, 2011/By Patricia Leslie


Pascual mingled used photos (none she took herself) with various household products (candlesticks, glass, cardboard, lamps, lumber) to produce her unusual sculptures.  (I call word "recycling," but nowhere on any web site about her works did  the word appear, I am guessing because it is not refined or sophisticated enough for the art world. Please correct misimpressions.)

Initially, none of her pieces works uplifted or inspired me who found them profoundly depressing, but the more I read about Pascual, and given my propensity to recycle as much as I can, I grew to admire her art. 

It took a while.

As many of Pascual’s images are of women, Virginia Treanor, NMWA senior curator, says on the museum website that "it is hard not to view her works as commentary on the objectification of women that such 'overtly constructed' [the artist's words] imagery sustains."

(None of the 17 pieces on view that I recall contained a man or a boy or either of their images.)

Treanor continues: “The transformation of the images into large, stationary objects, which often serve as support for domestic objects like lamps or candleholders, seems to bring the absurdity of ‘woman as object’ to its inevitable, irrational conclusion."

From a different generation from Ms. Pascual, I could not help but think: IF she thought today’s woman in a man’s world is tough, she shudda lived in the 70s! And, of course, eons prior to that. No doubt, our progeny will look back on these eras of sexism and wonder what artists were talking about. (Applause.)

The museum says some of her works are humorous.

Which ones?  I suppose I took them all too seriously.

NMWA does caution that Pascual's "process...can be unsettling, as viewers perceive an emotional tension between beauty and destruction."

My interpretation focused too literally on the subjects, like two actual candle sticks protruding from a nondescript black and white photo of two emotionless women.

As Pascual explained her approach to found objects, “I’m not destroying them. I like to think I’m giving them a new life.” (Recycle, anyone?)

Ms. Treanor goes on: “The exhibition not only introduces visitors to the work of this visionary artist but also preserves Pascual’s legacy."

Please, write soon and tell me what you think!

What: Marlo Pascual: Making Something Out of Something. See the website for programs and talks.


When: Now through Feb. 28, 2027. The museum is open Tuesday through Sundays, 10 a.m. - 5 p.m.

Where: The National Museum of Women in the Arts, 1250 New York Avenue, N.W., Washington, D.C. 20005

Admission: $16, adults; $13, D.C. residents and those over age 65; free admission for members, those under age 21, and disabled persons and attendant. Free admission on the first Sunday and second Wednesday of every month.

For more information: 202-783-5000 or 800-222-7270 and visit nmwa.org.

Metro stations: Metro Center (exit at 13th Street and walk two blocks north) or (better) walk a short distance from McPherson Square.

patricialesli@gmail.com

Get on the bus to NYC and Whitney's Biennial!

At the 2026 Whitney Biennial, guests pondered Gabriela Ruiz's Homo Machina (Human Machine, a.k.a. Gay Machine), 2026, "a life-size digital console that functions as a self-portrait," according to the wall label/Patricia Leslie, photo

Ali Eyal, detail of Look Where I Took You, 2026 at the 2026 Whitney Biennial, painted from artist's memory of his family's last trip to Baghdad's largest amusement park before the family left Iraq at the start of the 2003 war, according to the wall label. My second favorite of the show, for the color, the subject, the movement, the grasp of the horror of war, for the human shapes /Patricia Leslie, photo

It's the show of shows hosted every other year to exhibit what contemporary artists are making now, what they're thinking, what they're doing.

One floor of Whitney's world renowned display will close August 23, but two more floors will remain open until September 7 and October 12.  

Pictured here are the works I found the most fascinating.

Young Joon Kwak, Divine Dance of Soft Revolt, 2024, accompanied by an audio, inviting viewers to find themselves in the mirrored surfaces, at the 2026 Whitney Biennial/Patricia Leslie, photo

Detail of Agosto Machado's Ethyl (Altar),  2024 at the 2026 Whitney Biennial, of materials he collected as caregiver and "unofficial activist" for many of his peers at the height of New York's AIDS crisis.  The components express "his gratitude for the love and generosity of his queer community," according to the wall label/Patricia Leslie, photo

Malcolm Peacock, Five of them were hers and she carved shelters with windows into the backs of their skulls, 2024  is a sculptural interpretation of a coastal redwood tree with texts from autobiographies of Frederick Douglass and Malcolm X, at the 2026 Whitney Biennial/Patricia Leslie, photo

It seems rather tame this year especially when compared to the shock my son, then age 12, and I experienced way back in 1997 when we ventured in the doors to be blown away by the Biennial on several floors of the Whitney's home at the time, the Breuer building, in Manhattan's Upper East Side.

It was a stunner, all right. 

Whatever and whenever, any opportunity to go to the Big Apple when the Biennial is playing is a must.   

At the 2026 Whitney Biennial, Anna Tsouhlarakis's She Must Be A Matriarch, 2023 "offers an irreverent image of a female warrior armed with a mix of the mythical, the mundane, and the humorous," according to the wall label/Patricia Leslie, photo

David L. Johnson's Rules, 2024-ongoing, was my favorite at the 2026 Whitney Biennial.  Signs from privately-owned public spaces (POPS) began popping up in 1961 after a zoning resolution permitted developers to develop taller buildings in NYC  in exchange for creating "nearby park-like" spaces for public use, developers able to install their own rules about land use/Patricia Leslie, photo

More of David L. Johnson's Rules, 2024-ongoing at the 2026 Whitney Biennial/Patricia Leslie, photo

More of David L. Johnson's Rules, 2024-ongoing at the 2026 Whitney Biennial/Patricia Leslie, photo

This year's presentation features the works of 56 artists who paint, sculpt, perform, make films and digital art. Mother and daughter, Carmen de Monteflores, age 92 (the oldest in the bunch), and daughter, conceptual artist Andrea Fraser, 60, are two of the them. 

Although the show usually includes American artists only, this year some foreign artists with a U.S. connection are included. 

Most of the artists are millennials (born 1981-1996)  and most live in (surprise!) New York or California.

Isabelle Frances McGuire's Satan in America and Other Invisible Evils: Experiments in Public Sculpture, 2026 draws on mythical American history scenes from the Salem Witch Trials in Massachusetts to Abraham Lincoln's birthplace in Kentucky, says the label at the 2026 Whitney Biennial/Patricia Leslie, photo

The other side of Isabelle Frances McGuire's Satan in America and Other Invisible Evils: Experiments in Public Sculpture, 2026, the right side, I think, to represent Salem villagers modeled from the video game, Doom/Patricia Leslie, photo

A view of the Hudson River from a Whitney stairwell,  looking towards New Jersey/Patricia Leslie, photo

The New York Times says the curators, Marcela Guerrero and Drew Sawyer, spent a year traveling and visiting more than 300 studios.  

 A 500-page catalog is available for $50 ($45, members). 

What:  The Whitney Biennial 2026

When:  Now through Aug. 23, 2026 and a partial display through Oct. 10, 2026. 

Daily: 10:30 a.m. - 6 p.m. except on Fridays, 'til 10 p.m.

Where:  The Whitney Museum of American Art, 

99 Gansevoort St., NY, NY 10014

How much:  Free Friday night admission from 5 - 10 pm and second Sundays, as are every day admission for all those 25 and under, but advance tickets are required. Limited admissions.

Military members and veterans are admitted at no charge and tickets for the disabled are $18 and seniors, $24.  All others, $30.

For more information: See the website or call 212-570-3614.

patricialesli@gmail.com

The book that led to Murdaugh's new trial

The power of a book!

Behind the Doors of Justice: The Murdaugh Murders by Rebecca “Becky” Hill upset some jurors after it was published only four months after the Alex Murdaugh trial ended March 2, 2023.

Because of Hill's jury tampering, Murdaugh gets a new trial next April, charged again with the 2021 murders of his wife and son. 

Becky Hill was the elected Colleton County (S.C.) Clerk of Court paid $100,000 to manage the courthouse. (The judge oversees the courtroom and the clerk of the court, the courthouse (p. 3).)

After the South Carolina Law Enforcement Division investigated allegations that Hill abused her government position to promote her book, she resigned her position in March, 2024.

In May, 2025 she was arrested and charged with obstruction of justice in the leaking of confidential court information, as well as perjury and misconduct, to which she pleaded guilty and was sentenced last December to three years' probation and 100 hours of community service. 

Approximately 15,000 copies of her book in various formats had been released when the co-author, Neil Gordon (not charged) discovered that Hill had plagiarized a portion of a BBC reporter’s content for the Hill preface. 

I got the book through interlibrary loan.

More than 50 media outlets came to Walterboro for the trial,  some who sat in the overflow media room. No phones, laptops, or IPads were allowed in the courtroom. 

The tone of Hill’s book is one of joy, of self-congratulations that Murdaugh was found guilty, that she had managed the courtroom in an admirable manner, and briefly found fame and association with celebrities who covered the trial (reminding me of a new star or athlete immediately thrust into the limelight and enjoying the attention and brief prominence which events produced.  Becky:  You are human!).

But, the desired verdict she wanted at trial’s end is evident  throughout the book, and that she was unable to suppress it when dealing with the jury is documented by the facts. 

She gives the background of providing daily meals for the jury, staff and families, some 60 plus persons, and the four months of preparation for the trial, parking arrangements, press logistics, a lot of nitty-gritty work.

The book is fast and short: 171 pages plus 32 pages of black and white personal photos, of courtroom figures and members of the press.

Like many in the region, Hill's family had a long association with the Murdaughs, knowing them for decades, considering them extremely gracious and kind.   

All the Murdaughs were "so darn charming and likeable" (p. 17), Hill writes and compares them to the charisma of Bill Clinton and the Kennedys, with transgressions included (p. 69).

Watching the Murdaughs, Hill learned how to influence people and she admired their energy (p. 25). 

According to her family's lore, her grandfather and Alex's grandfather shared a common business:  moon shining (p. 17).

The portrait of Alexander‘s grandfather, area solicitor for 46 years, hung for decades in the courtroom but was removed for the trial and hung back up at the end. 

For more than a century, the Murdaughs had built "a legacy of controlling the justice system" with "alleged misuse of power" amidst "a lot of love and loyalty for them" (pp. 3-4).

She describes her great respect for Judge Clifton Newman.  

At the trial, Alex always greeted Hill.

She begins each chapter with a quote from an historic figure, author, notable personality or a Bible verse.

On the second day after the murders, she became suspicious of Alex when the police announced there was no danger to the public (p. 169).

Jury selection passed quickly; members immediately bonded and prayed together, and Hill, her team and others prayed, too (pp. 110 and 113).  

During the trial, no one sat in the courtroom on the victim's side (p. 41).

The defense attorneys continually violated court rules and Murdaugh's family was reminded not to exchange looks or greetings which would violate courtroom practice, their actions causing their move to the back row in the courtroom.

During Alex's testimony, Hill found his constant stalling  "irritating," figuring he was trying to buy time to figure out how to answer questions (p. 36).

She believed "he was lying and changed his story on the fly, making it up as he went along" (p. 37).

At the request of the defense attorneys, the jury and courtroom personnel visited the murder site on March 3, 2023, a scene she describes as haunting as if Maggie, Murdaugh’s wife, and Paul, his son, spoke from the grave.

That visit convinced the jury that "Alex's story was impossible....I knew and they knew that Alex was guilty" (p. 121).  Returning to the courtroom that day ...the "'regular people,'" in a separate vehicle from the jury, "unanimously came to our own verdict in just three minutes. Guilty" (p. 122).  

Although, she writes, it is hard for most to "fathom killing or hurting a family member,..during our time at Moselle, Alex's fate was sealed" (p. 123).

As she read the verdict aloud, she worried that he would be found innocent "when I knew in my heart he was guilty"
 (p. 2).

After the trial, she learned that many jurors believed Alex was faking his tears, "another example of his insincerity and his lies. His testimony did little, if anything, to convince the jurors of his innocence" (pp. 111-12).

After the trial ended and continuing through the end of the book, she and her team from the Clerk of Court's office gave 30 minute tours – about 10 to 15 daily – to the estimated 700 curiosity seekers who showed up to see the courtroom, the jury room, Alex's holding cell, and sit in the jury box.  

"All" the visitors thought Alex was guilty (p. 160). 

She praises her staff for their hard work: the "wonderful" team who helped "make me look a queen" (p. 114).

She believed "Alex is a classic narcissist" who built his alibis and cleaned up the evidence, thinking he would not get caught.  

A signed hardcover copy of Hill and Gordon's book sells for $2,500 or a used or paperback copy, about $200.  The book was published on July 20, 2023. 

On May 13, 2026, the South Carolina Supreme Court in a 5–0 decision, issued a ruling that Hill’s improper influences on the jury was reason for a new trial.

Last week the judge dismissed Murdaugh's suit against Hill for $600,000 for his legal fees, ruling Hill had nothing to do with Murdaugh's charges and legal fees. His attorneys are appealing while trying to secure a different venue for his new trial.

patricialesli@gmail.com

Shakespeare Academy graduates charge the stage thru Saturday

From left, Kendall Kent, Kimberly Colisch, and Julian Cividanes star in Shakespeare Theatre Academy's Macbeth/Shakespeare Theatre Co.

Two Shakespeare plays for $40! Unbelievable!

Almost as unbelievable as the dazzling acting seen on the Shakespeare Theatre Company's Klein Theatre. 

But hurry! Remaining tickets are few.

 

They are the ending performances by graduates of the Master of Fine Arts program the Shakespeare Theatre Academy offers in conjunction with George Washington University.

 

“If music be the food of love, play on!” They did.

From left, Bridget Campbell, Robert Kittler, and Michael Girts star in Shakespeare Theatre Academy's Twelfth Night/Shakespeare Theatre Co.

The graduates are completing their year of extensive training in the fine arts of stage combat, classical language, acting, text, voice, speech, movement and combat experience, taught by accomplished actors and trained crew.

Lest anyone think these are amateurish shows because they are performed by “new” graduates,  not only have these students graduated college with each boasting a string of performances ranging from off Broadway to local companies to regional theatres throughout the U.S., they are, in the words of Malvolio:

 

“not afraid of greatness” for 

“some are born great, some achieve greatness, and some have greatness thrust upon ‘em.” 

They all perform in both the comedy, Twelfth Night and the tragedy, MacBeth and who's to say which is better?

The sets are minimal, the costumes (by Cidney Forkpah, assisted by Lily Komarov) are contemporary, but the sounds, the sounds!  (By Matt Nielson who composed original scores) are outstanding: 

The thunder!  

The clashing of helmets! 

The lightning (sound?), 

The waves crashing upon the shore while the Twelfth Nighters bend from their waists and sway with the waves before the shipwreck off the coast of Illyria and the ensuing mix-ups. (In Shakespeare?  Mix-ups? ‘Tis cannot be!) 

The scariest ghouls made up in the most divine (?) ways! They move, they float, they come at your throat!  

(The orchestration of the stringed instruments was most pleasing to the ear.)

Puppet Designer Ksenya Litvak’s puppets are magnificent. (Andrey Stuurman was consultant.)

 

And who can pass up opportunities to hear words of the master spoken on stage as in:

“O, full of scorpions is my mind!”

“Out, damned spot! out, I say!”

“Double, double, toil and trouble;
Fire burn, and cauldron bubble!”

“Fair is foul, and foul is fair, hover through fog and filthy air.”

 

The graduates are Bridget Campbell, Julian Cividanes, Kimberly Colisch, Kira Cornell, C.J. Craig, Michael Girts, Sofia Hernandez Morales, Claire Hilton, and Cameron Holder.

Also, Kendall Kent, Robert Kittler, Anna Marzullo, and Lenny Mendez Terceros, Matilda Musser, and Olivia Potter.

 

Jess Chayes directs Twelfth Night; Alec Wild, Macbeth.

 

Other artistic team members are:

Minjoo Kim, lighting; Robb Hunter, fight director; Bess Kaye, intimacy coordinator; Lisa Beley,
voice and text coach; Cammiel Hussey, Twelfth Night, and Katie McDonald, Macbeth, assistant directors; Maddie Caldis, production manager; Regina Vitale, stage manager; Maria Mills,  
assistant stage manager.  

Applause to all, especially to Emma Crane Jaster, movement director.

 

Remember, there is always: 

“To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player,
That struts and frets his hour upon the stage,
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.”

And

“What's done, is done”

What:  Twelfth Night and Macbeth

 

When:  In repertory through Saturday, July 25, 2026 at 7:30 p.m. and one Twelfth Night matinee at 2 p.m., July 25.

 

Where:  Shakespeare Theatre Company, Klein Theatre, 450 7th Street NW, Washington, DC 20004

 

How much:  $25 each performance or $40 for both

Duration:  Twelfth Night runs almost three hours with one intermission; MacBeth, about 2.5 hours with an intermission.

For more information:  Box Office, 202-547-1122, 12 – 6 p.m. and open until curtain on show days.

Patricialesli@gmail.com