Wednesday, May 20, 2026

'Michael' and 'Elvis,' the films



EPIC: Elvis Presley in Concert (2025)


I liked EPIC Elvis (in concert) better because it was authentic, a documentary with lots of actual film of the king performing, talking, and background scenes, while the story of Michael is acted, fairly much a hagiography endorsed by the Jackson family. (Michael's son, Prince Jackson, was the executive producer and on set a lot.)

As with books, I prefer non-fiction.

Peopl
Juliano Valdi is young Michael and Larenz Tate is Berry Gordy in Michael/photo by Glen Wilson/Lionsgate

Jaafar Jackson, Michael's nephew and the son of Jermaine Jackson, one of the Jackson 5, is the star who does sing the songs which was surprising to me, expecting lip syncing, but some of the numbers are his voice on Michael's tracks, according to his remarks on the Today show April 2, 2026.

Nevertheless, he and Juliano Vardi as the young Michael did incredible jobs, but they were not "Michael." Elvis was "Elvis."  (See my review of EPIC Elvis at the link above.) 

Jaafar Jackson is Michael Jackson in Michael/photo by Glen Wilson/Lionsgate

Whereas Elvis has many more of his top hits included in the film, almost all of Michael's are shortened and it's not until near the end of Michael that we get even close to a full version of one of his songs.

Colman Domingo is Joe Jackson, the father, in Michael/photo by Glen Wilson/Lionsgate
 

Colman Domingo is Joe Jackson, the father, and every bit as despicable as rumors have him to be, but spectacular here whom I hope will be nominated for an Oscar. 


Nia Long is Michael’s mother, rather weak and maybe she was in real life.  


The negative parts of Michael's life are generally ignored with the film ending abruptly, lamely with “to be continued." I'll say.


Save your IMAX money for something better than Michael since an IMAX screen is not as vital as it was for Elvis, but who's to know on the front end?  I am here to tell you. 


I'm glad I took the advice advertised at Cinema Arts Fairfax to see Elvis on IMAX.  What a difference it made!  


I tried to see it again on IMAX the following weekend, but alas, could find no area theatres screening it. 


Later, I rushed to see Michael at the same IMAX (Tysons, VA) where most of the seats were sold on the first Saturday afternoon after its release, but IMAX for Michael was not necessary and besides, it set me back $33+!  Even with my senior rate and a 15 % discount for an afternoon show, admission was $19.99. Add a small popcorn and drink for a grand total of $33.  Yikers!


Take me to the bank.


patricialesli@gmail.com







Tuesday, April 28, 2026

Highly recommended, the book and audio: 'Tanqueray'

 


This is a great audio to listen to (read by the author) and the book has fascinating photos to see, both editions, available at libraries. 

 

 

In 2019 a blogger, Brandon Stanton whose series, Humans of New York was followed by millions, was attracted to an unusually dressed woman in fancy gear

along the streets of Chelsea in New York City. 


Mr. Stanton stopped for a chat which led to a friendship which led to a column in his series, which led to the book Tanqueray, the expose of Stephanie Johnson’s life and one of her last life's chapters before a stroke felled her last October at age 81. 


Her obituary led me to the audio and book.

 

Ms. Johnson was a famous burlesque dancer in the Big Apple in the 1960s and 70s, and she lays it all out straight, everything, rather like a rip-roaring escapade of edgy New York life, kinda gangster style, a strip club and more (a life most of us only hear or read about and maybe, wish we’d experienced a trifle of it?).

 

She was a self-made woman whose mother threw her out when Ms. Johnson was 17 and pregnant.  On her own, she made her way from Albany, N.Y.  to New York where she built her reputation.

 

Her name “Tanqueray” came from a bottle of gin sitting near a conversation. 


Mr. Stanton helped her write her bio in which she speaks in highly entertaining fashion (of which she was an excellent seamstress, attending classes at the Fashion Institute of Technology, making sparkly costumes for herself and many others).  


She had lots of boyfriends, was married twice and prided herself on not sleeping around or drinking.  She had two sons and gave up her daughter for adoption. The book Mr. Stanton wrote of their many conversations drew millions of readers and helped restore her relationship with an estranged son.


She was lonely, very, very lonely.

 

When serious illness struck, Mr. Stanton spearheaded a GoFundMe campaign for Ms. Johnson which produced about $2.6 million for her medical needs and solved her money worries. Leftover money went to the Association to Benefit Children.  

 

Ms. Johnson and Mr. Stanton speak in the postscript, not to miss!

 

It’s a short 192 pages, hard to put down; a (very) fast read and wow!  I want to see this movie.


patricialesli@gmail.com



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 for 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 could watch the children play through a one-way screen , 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). 

OÄŸuz 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, AyÅŸe 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