Only in DC! Bach and Frederick the Great

Adolph von Menzel, 1815-1905, Frederick the Great Playing the Flute at Sanssouci, 1852 with Carl Philip Emanuel Bach on  harpsichord, Carl Graun (standing, between two ladies on the left), Johann Quantz (far right) and Franz Benda (second from right), all portrayed in Theatre Royal Bath's The Source at Shakespeare Theatre Company/Wikipedia, Alte Nationalgalerie, Berlin.

To see British theatre on stage in Washington, one may go immediately to the Shakespeare Theatre Company's website and purchase tickets for the outstanding production by Theatre Royal Bath which has crossed the pond, bringing with it the troupe and a royal star who deliver one of the great performances of the season in Washington, D.C., its only U.S. venue. 

Sir Trevor Nunn (you do remember his Cats and Les Misérables?) directs.

The star is global winner Brian Cox and the show, The Score  by Oliver Cotton, based on a true encounter between Johann Sebastian Bach (Cox) and Frederick II, King of Prussia (Stephen Hagan) in 1747 when the two met in  Potsdam.

Real-life husband and wife, Brian Cox and Nicole Ansari-Cox are Anna Bach and Johann Sebastian Bach in Theatre Royal Bath's The Source at Shakespeare Theatre Company/By Theresa Castracane

Certainly, set designer Robert Jones and lighting designer Johanna Town must be students of Vermeer and his window works since they duplicate the painter’s haunting shadows and lighting in the opening scene with Bach and his wife, Anna (Cox's real-life wife, Nicole Ansari-Cox) seated inside their home in Leipzig, complaining about the outside clamor they hear emanating from the king's soldiers whose commotions upset residents. (Sophie Cotton is sound designer.) 

Bach is like a fuse waiting to be lit.  He’s unhappy, gruff and mad at the world.  His daughter (never seen) is ill, yet he must leave her and go visit the king who has summoned him to Potsdam. 

Anna pushes her husband out the door.

Like many artists who'd rather be doing most anything else, Bach resists visiting “your highness,” but, alas! The king wants to meet the musical genius.

In conversation, it's not long before Bach (1685 –1750) , the moralist and strict Lutheran, challenges the atheist king (1712-1786) to atone for his soldiers' rape of a blind 14-year-old girl in Leipzig, and the king responds, so what? "These things happen."

Bach is the good; the king, the bad.  Bach, morality; the king, unscrupulous, but, maybe, towards the end, scrupulsome? 

His father, Frederick William I, the "soldier king," had brought his son up "to be a man," treating him brutally, shunning his son’s interests in the arts and prohibiting Frederick II's pursuit of culture, even beheading II's rumored homosexual lover in front of his son.

Nevertheless, Frederick II became a great musician, a composer and a flutist in his own right.

Hagan's performance was absolutely captivating as king, to see him move around the stage like a stag, the very best of any king I’ve seen, a stunning portrayal of Frederick II, and coming close to riding roughshed over the star.

He is strong, he is arrogant, he is confident as he flings himself upon a chair and extends both arms, his legs, splayed. And when he stands, his arclike posture  commands all the personalities around him. But he is the king.

Jamie Wilkes is Bach's subservient son, Carl Philip Emanuel Bach, a convincing rendering of an offspring who competes with other court composers  (the king’s sycophants, Christopher Staines, Matthew Romain, Toby Webster) utilizing the history of Bach I and the king, to participate in an outrageous bet about his father’s talents.

From left, King Frederick II of Prussia  (Stephen Hagan) with court composers (Christopher Staines, Toby Webster, and Matthew Romain) in Theatre Royal Bath's The Source at Shakespeare Theatre Company/By Theresa Castracane

From left, Voltaire (Peter De Jersey) and Johann Sebastian Bach (Brian Cox) backed by court composers (Christopher Staines, Toby Webster, and Matthew Romain) in Theatre Royal Bath's The Source at Shakespeare Theatre Company/By Theresa Castracane

Voltaire (Peter De Jersey) who lived for a while with Frederick II, declaring him to be "a philosopher-king," and exchanging many letters with him,  pops up every now and then in a lusty, comedic presentation to add doses of humor and lighten the score. (The play has lots more humor than anticipated.) 

Jones's exceptional sets and costumes match the luxury of von Menzel's painting.

The similarities to today’s American society and leadership leap to mind several times during the play, watching opposites contrast between the main characters, good and evil, and the conflicts between the people and a ruler who cares little about them and their wellbeing.

Other cast members are Juliet Garricks, Will Kerr, Jordan Kilshaw, Claire Morrissey, Max Pink, and Geoffrey Towers.

I can’t recall ever listing a casting director but kudos to Ginny Schiller! 

Other artistic team members are Cordelia Monsey, associate director; Theatre Royal Bath Productions, Len Blavatnik, Danny Cohen, producers; Laura Smith, Felix Dunning and Lorna Earl, stage managers.

 

What: The Source

 

When:  Now through Oct. 25 (extended), 7:30 p.m., Tuesday – Sunday; 2 p.m. every Saturday and some Thursdays and Sundays

 

Where:  Shakespeare Theatre Company, Harman Hall, 610 F Street NW, Washington, DC 20004

 

How much:  Tickets start at $39

Duration:  About 2.5 hours with one intermission

 

For more information:  Ph. 202.547.1122,  7 days a week, 12–6pm

Trump is no JFK

A sign at the protest Sept. 18, 2026 to save the John F. Kennedy Center for the Performing Arts/By Patricia Leslie


Thank you for your attention to this matter!

Thousands turned out Friday night at the John F. Kennedy Center for the Performing Arts to join hands and form a human chain around the JFK building and listen briefly to politicians and others decry Trump's attempt to destroy the city by erecting ugly monuments and slapping his name on the ones which still stand before he tears them down.

"Hands Off the Arts" quickly called for a protest after Trump's plans to destroy the Kennedy Center surfaced in a photo through an airplane window. (May that photographer be nominated for the Pulitzer.)

Thousands gathered and police kept a low profile. The trio of National Guard members usually found at the Foggy Bottom Metro station were nowhere to be seen nor were any Guard members present Friday night at the KC, which, until Trump, was a lively venue for daily and evening shows, 365 days/year, now fallen silent with the destruction of its board by a fake arts enthusiast.



Before the demonstration Sept. 18, 2026, fencing went up around the John F. Kennedy Center for the Performing Arts/By Patricia Leslie

Where there's Trump, these likelinesses will follow. At the John F. Kennedy Center for the Performing Arts, Sept. 18, 2026/By Patricia Leslie

In case readers have not seen Trump's Tarp covering President Kennedy's name /By Patricia Leslie


Tara Hoot (center, in red) at the "Hands Off the Arts" rally Sept. 18, 2026 to save the John F. Kennedy Center for the Performing Arts/By Patricia Leslie


Drag queen Tara Hoot (she was!) was the moderator Friday night when Washington's Gay Men's Chorus sang and U.S. Congressman Don Beyer (D-VA) addressed the crowd, saying he'd never known anyone as insecure as Trump who demands that his name go up on public buildings. 

Trump's motto: "It's my way or the highway."

Other speakers Friday night included a union official and D.C.'s Democratic congressional candidate, Robert White. 

At the "Hands Off the Arts" rally Sept. 18, 2026 to save the John F. Kennedy Center for the Performing Arts/By Patricia Leslie

At the "Hands Off the Arts" rally Sept. 18, 2026, a fake Trump came to present his constant message at the John F. Kennedy Center for the Performing Arts/By Patricia Leslie

At the "Hands Off the Arts" rally Sept. 18, 2026 to save the John F. Kennedy Center for the Performing Arts/By Patricia Leslie

At the "Hands Off the Arts" rally Sept. 18, 2026 to save the John F. Kennedy Center for the Performing Arts/By Patricia Leslie

At the "Hands Off the Arts" rally Sept. 18, 2026 to save the John F. Kennedy Center for the Performing Arts/By Patricia Leslie

After the talks ended, the crowd took off, moving slowly with the flow to find waiting hands to clasp at the "Hands Off the Arts" rally Sept. 18, 2026 to save the John F. Kennedy Center for the Performing Arts/By Patricia Leslie

At the "Hands Off the Arts" rally Sept. 18, 2026 to save the John F. Kennedy Center for the Performing Arts/By Patricia Leslie

At the "Hands Off the Arts" rally Sept. 18, 2026 to save the John F. Kennedy Center for the Performing Arts/By Patricia Leslie
The sign says "Take Care Of This House. Be Always on Call. For This House Is The Hope Of Us All." At the "Hands Off the Arts" rally Sept. 18, 2026 to save the John F. Kennedy Center for the Performing Arts/By Patricia Leslie

At the "Hands Off the Arts" rally Sept. 18, 2026 to save the John F. Kennedy Center for the Performing Arts/By Patricia Leslie

Moving to find hands for the human chain at the "Hands Off the Arts" rally Sept. 18, 2026 to save the John F. Kennedy Center for the Performing Arts/By Patricia Leslie

On the way to form a human chain around the building at the "Hands Off the Arts" rally Sept. 18, 2026 to save the John F. Kennedy Center for the Performing Arts/By Patricia Leslie

At the "Hands Off the Arts" rally Sept. 18, 2026 to save the John F. Kennedy Center for the Performing Arts/By Patricia Leslie
Les miserables marched to save the union at the "Hands Off the Arts" rally Sept. 18, 2026 at the John F. Kennedy Center for the Performing Arts/By Patricia Leslie


Spilling off the front plaza at the JFK Center Sept. 18, 2026 on to F Street, NW, "les misérables" joined hands to stop the destruction of the JFK Memorial. The circular buildings comprise the Watergate complex/By Patricia Leslie

Crossing Rock Creek Parkway at the "Hands Off the Arts" rally Sept. 18, 2026 to save the John F. Kennedy Center for the Performing Arts/By Patricia Leslie


On Rock Creek Parkway where motorists honked their horns in support of the people at the "Hands Off the Arts" rally Sept. 18, 2026 to save the John F. Kennedy Center for the Performing Arts/By Patricia Leslie

On the Potomac River side of the John F. Kennedy Center for the Performing Arts, motorists sounded their horns in support of the people marching to save the center at the "Hands Off the Arts" rally Sept. 18, 2026 at the John F. Kennedy Center for the Performing Arts/By Patricia Leslie

At the "Hands Off the Arts" rally Sept. 18, 2026 to save the John F. Kennedy Center for the Performing Arts/By Patricia Leslie
Inside the "Reach," all is quiet Sept. 18, 2026 at the John F. Kennedy Center for the Performing Arts/By Patricia Leslie

At an empty hall at the "Reach" at the John F. Kennedy Center for the Performing Arts, Sept. 18, 2026/By Patricia Leslie

An empty entrance at the John F. Kennedy Center for the Performing Arts where millions enjoyed performances annually before Trump tore out its heart and soul, but when Trump's term ends, a heart transplant will be conducted and the center's soul, restored/By Patricia Leslie

A silent Concert Hall at the John F. Kennedy Center for the Performing Arts, Sept. 18, 2026/By Patricia Leslie
 The D.C. Activist Street Band played on with their wonderful New Orleans flavor at the "Hands Off the Arts" rally Sept. 18, 2026 to save the John F. Kennedy Center for the Performing Arts/By Patricia Leslie


The crowd danced to the tunes of the D.C. Activist Street Band at the "Hands Off the Arts" rally Sept. 18, 2026 to save the John F. Kennedy Center for the Performing Arts/By Patricia Leslie

A photographer at the JFK Statue at the Center Friday night, the statue, a gift in celebration of the Center's 50th anniversary, Sept. 1971-2021, from David M. Rubenstein, the Kennedy Center chair 2010-2025 until he was ousted by Trump.

At the statue I met a couple from California in town for a few days who happily joined the throng, seeing signs around town announcing the event, they said. They were astonished to hear of Trump's proposed destruction of the JFK Memorial. And of the golf course. And to build the arch. 

Other people at the statue asked each other:  "Where were you when ...?"



patricialesli@gmail.com

'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