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Wednesday, December 5, 2018

Book review: 'Dinner in Camelot' is lukewarm


Dinner in Camelot is rather like one boring movie which makes you wonder if it's going to get any better.

It doesn't.

Those of us who were alive during the Kennedy presidential years, I think are always looking to recapture some of their magic and allure and relive the days of grace, intellect, and beauty which have been mostly absent since 1963.

Subtitled: The Night America's Greatest Scientists, Writers, and Scholars Partied at the Kennedy White House, this book, published last spring, describes (some but not enough of) the famous dinner on April 29, 1962 for all living Nobel Prize winners in the Western Hemisphere.

Many of the phrases are repeated twice or more. Some of the guests are described in too much detail: J. Robert Oppenheimer (atomic bomb), William and Rose Styron (Kennedy friends and authors; she wrote Dinner's foreword ), the Paulings (chemist and activists whose son, Linus C. Pauling, Jr. gave Dinner the highest possible rating on Amazon).

I didn't get Dinner at the library to read about them and their research. I got it to read about them, the hosts, and more about other guests, and the actual dinner: the menu, the flowers, the table settings, the guests' arrivals and their attire, the orchestra, the music program.  

What did the expanded portions about the scientists and their work have to do with the dinner? Had I wanted a book about science, I would have gone to the science section of the library.  

My impression was the author, Joseph A. Esposito, was trying to pad and fill pages which number 252 but they are little pages, at best no more than 150 real pages.

Did I miss the list of all the guests with a brief description of their occupations? Or, cause for their celebrity? Surely, it is there somewhere, and I overlooked it.  After all, this is about one fancy dinner party, likely the fanciest one in Washington when JFK said:  

I think this is the most extraordinary collection of talent, of human knowledge, that has ever been gathered together at the White House, with the possible exception of when Thomas Jefferson dined alone.

Anything about the children (other than Caroline playing with the elevator)?  More about the orchestra, please. Did Jacqueline Kennedy select the music?

Maybe, the next edition?  

Patricialesli@gmail.com

Monday, December 3, 2018

National Philharmonic gifts for the hard-to-please

Hanbing Jia and Sara Matayoshi, violinists for the National Philharmonic Chamber Players/Photo by Patricia Leslie

For the person or persons on your list who is hard to please, who may "have everything," what about a gift subscription to the National Philharmonic at Strathmore

Some music lovers in Northern Virginia are hesitant about going out to Strathmore, but there is no difficulty, I can assure you, as a frequent customer who finds the Old Georgetown Road exit off the Beltway with a right turn on Grosvenor Lane the easier route, but there is also the Rockville Pike/Tuckerman Lane exit, too. 

Strathmore has plentiful free parking at the Metro station garage across the street with an elevated, covered walkway to connect to the music center.

One of the joys of the Philharmonic is its chamber music series where I was able to hear another tribute to Leonard Bernstein's 100th birthday celebration when chamber players performed "What is a Melody?" at the John Kendall Recital Hall at Potter Violins in Takoma Park. 

The program opened with a short video devoted to Mr. Bernstein who defined melody as repeating ideas in a simply arranged method, such as birds flying together or the sound of humming bees (if live bees are a possibility). 

Two masterpieces by Ludwig van Beethoven (1770-1827), String Quartet in B Flat Major OP. 18 and Grosse Fuge for String Quartet OP. 133 began and ended the program, exquisitely performed by Hanbing Jia and Sara Matayoshi on violins, Lori Barnet on cello, and Colin Sorgi played the viola and directed. 

The first movement in B Flat Major started cheerily with an energetic answer to the cello and violins, while the viola seemed content to linger in the background. The violins played in tandem with an emphatic end to the movement. 

A strong cello led the second movement with more repetition and energy to introduce the third movement whose mazurka similarities and a demanding violin solo all ending happily enough with the fourth.

Next came Blueprint by Caroline Shaw (b. 1982), a Pulitzer Prize winner whose creation linked to Beethoven's String Quartet.

Exclaimed Director Sorgi: "It really is fun and we hope you enjoy it," and the audience did.  It is delightful to hear new compositions, the variations in the outcome, and a millennial's perspective.

In program notes, Ms. Shaw wrote the basis for the work originated as "a harmonic reduction" of Beethoven's String Quartet Op. 18 which she has played many times with friends. "Chamber music is ultimately about conversation without words," she noted.

As in dialogue with friends, there are pauses here, too, but it is a contemporary work which is unobnoxiously modern for this traditionalist (and definitely beyond "millennialism").

Because I am a huge fan of Russian history and culture, the inclusion of String Quartet no. 3 by the Russian Alfred Schnittke (1934-1998) was of keen interest and presented no disappointment despite its stylish sway.
Reginald Gray, (1930-2013), Alfred Schnittke (1934-1998), 1972/Wikimedia Commons

A modern piece by a modern composer with a tense spirit, unpleasant and uncompromising, with hints of Alfred Hitchcock here and there.  A sadness and gloom seemed to permeate the structure in which the composer included attention to Orlande de Lassus, Beethoven's Grosse Fugue, and Dmitri Shostakovich.

Mr. Schnittke composed symphonies, operas, ballets, concertos, and scores for more than 60 films (any of Hitch's?). He is buried in the renowned Novodevichy Cemetery in Moscow.
Alfred Schnittke's gravestone with fermata, Novodevichy Cemetery, Moscow/Photo by de Bernutzer: Wwwrathert, Wikimedia Commons

The last selection, Beethoven's Grosse Fugue, was labeled "surely one of the composer's most inspiring achievements" in program notes by Mark Steinberg from Yale's School of Music and a member of the Brentano String Quartet. Certainly, another one which the chamber players performed with precision and flair.

Upcoming dates for the Chamber Players at Potter Violins are:

Feb. 3, 2019: The Road to Paris

Apr. 28, 2019:  Musical Atoms
  
The entire orchestra will perform Holiday Pops, December 7, at 7:30 p.m. at Strathmore.


patricialesli@gmail.com 





 

Sunday, December 2, 2018

Ships from the Dutch Golden Age at the National Gallery of Art

Willem Van De Velde the Younger, 1633-1707, The Dutch Fleet Assembling Before the Four Days' Battle of 11-14 June 1666, 1670, on loan from Moveo Art Collection. This depicts the Dutch ships, the Liefde (Love) on the left and the Gouden Leeuwen (Golden Lions) on the right, as they sailed on the North Sea to wage war on the British during the Second Anglo-Dutch War (1665-1667). Although the Liefde sank during the engagement, the Dutch won the battle, the longest and largest ship fight between the two nations.
 
Above is one of the 17th century ship models in the exhibition at the National Gallery of Art, Water, Wind, and Waves: Marine Paintings from the Dutch Golden Age. This model is on loan from the Peabody Essex Museum, Salem, Massachusetts. The artist is unknown. Iceboards attached to the sides helped stabilize the ship, especially in shallower waters, indicating this yacht was intended to stay closer to shore rather than venturing out to higher seas, according to the label copy/Photo by Patricia Leslie
 

Water, Wind, and Waves: Marine Paintings from the Dutch Golden Age at the National Gallery of Art came down last Sunday,  but here, you may read about it and see some of the 50 odd pieces in the exhibition which included ship models, paintings, prints, and drawings portrayed by artists from the 17th century and the Dutch Golden Age.

Then the Dutch stood at their height of realm and rule, the most prosperous nation in Europe, emboldened by their mighty seas and waterways which were used for commerce, battles, and pleasure,  and drawn by their artists.

Breaking from religious themes and styles, Dutch painters drew subjects from everyday scenes, people, landscapes, animals, flowers, still lifes, historical events, ships, and water. Rembrandt van Rijn was represented by six of his etchings and drawings.

Adam Van Breen, 1585-1640, Skating on the Frozen Amstel River, 1611, National Gallery of Art, Washington. Waterways were not only used for commerce but for pleasure, too. See the dancers on the ice shaking a leg after, perhaps, imbibing in some Amstel Light beer. At the bottom near the center to the right of the dignitary in red, is a lad carrying a stick over his shoulder to play kolf, a combination of golf and hockey. His red and black shirt identifies him as an orphan.
Hendrick Avercamp, 1585-1634, A Scene on the Ice, c. 1625. National Gallery of Art, Washington. Here you can see couples in love, couples, maybe out of love, a playful dog, a horse-drawn sleigh, and children playing the precursor of hockey, kolf.
Rembrandt van Rijn, 1606-1669, View over the Amstel from the Rampart, c. 1646-1650, National Gallery of Art, Washington
Rembrandt van Rijn, 1606-1669, The Bathers, 1651, National Gallery of Art, Washington
Abraham Blooteling, 1640-1690, Admiral Egbert Meesz Kortenaer, c. 1665. One of the most interesting in the show. The admiral lost his lower right arm and left eye in the First Anglo-Dutch war in 1652 in the Battle of Dungeness. He continued to serve his nation until his death in 1665 at the Battle of Lowestoft when the Dutch were defeated near the coast of Suffolk, England. Look at the confidence in his eyes and his strong grasp of the telescope or baton (what is it?) in his left hand, a force demanding reckoning! He is buried at Rotterdam at the memorial (pictured below) which is engraved with a poem by Gerard Brandt.

By Josh at nl.wikipedia, CC BY-SA 3.0, https://commons.wikimedia.org

The Hero of the Maas, bereft of eye 
 and his right hand
Yet of the Wheel the Eye, Fist of 
the Fatherland 
KORTENAER the Great, the terror 
of foe's fleets
the forcer of the Sound by this grave 
his country greets
Jan van Goyen, 1596-1656, Ice Scene near a Wooden Observation Tower, 1646, National Gallery of Art, Washington. See the horse-drawn sleigh on the ice on the left and men pushing carts. The tower provided a mark in the horizon to help sailors navigate waterways. During bad weather and at dusk, the tower was a lighthouse.  The time period is what is known as the "Little Ice Age."
Hendrick Cornelis Vroom, 1566-1640, A Fleet at Sea, c. 1614, private collection. The label copy said Vroom was the first Dutch painter to specialize in seascapes. He was a frequent sailor who survived a shipwreck and applied his experiences and observations to the canvas.
Cornelius Verbeeck, 1591-1637. A Naval Encounter between Dutch and Spanish Warships, c. 1618-1620, National Gallery of Art, Washington. For ten years these two works led separate lives  until technical analysis revealed they belonged together, according to label copy. A Spanish ship on the left fires cannons on the Dutch on the right. The Dutch ships were usually smaller and more easily navigated, especially by their skilled and experienced crew, testimony which can be seen below the Dutch vessel where a destroyed Spanish vessel is battered by waves.
Water, Wind, and Waves: Marine Paintings from the Dutch Golden Age at the National Gallery of Art, Washington/Photo by Patricia Leslie

The curator for the exhibition was Alexandra Libby, the assistant curator of northern Baroque paintings at the National Gallery.

What and when: The National Gallery of Art is open 10 a.m. - 5 p.m., Monday through Saturday, and 11 a.m. - 6 p.m., Sunday.

Where: The National Gallery of Art, between Third and Ninth streets at Constitution Avenue, N.W., Washington, D.C. On the Mall.

Admission charge: It's always free at the National Gallery of Art.

Metro stations for the National Gallery of Art
:
Smithsonian, Federal Triangle, Navy Memorial-Archives or L'Enfant Plaza

For more information:
202-737-4215
 

patricialesli@gmail.com










Sunday, November 25, 2018

All I want for Christmas is two 'Elf' tickets


David Schlumpf is Buddy the Elf with the ensemble in Elf:  The Musical at Olney Theatre Center. (Photo: Stan Barouh)

Who needs reindeer when this Christmas spirit will send you soaring?

It's just what Santa ordered for the grumps in the house and the cheery adults and hyper-excited children all together now to watch, laugh, and enjoy the newest production at Olney Theatre Center,
Elf:  The Musical.

It's lots of fun with superb dancing (by choreographer Tara Jeanne Vallee), colorful costumes (by Kendra Rai) action (Michael J. Bobbitt directs 23), and a plot to boot, all based on the hoot of the 2003 movie starring Will Ferrell.

I loved this version and sat in wonder, like watching a giant, magical sleigh led by eight tiny reindeer guiding Santa and his bags of toys across a dark sky, and, as a matter of fact, it happens

It's a slow few seconds at the beginning while the audience adjusts to the North Pole. Scenic designer Daniel Ettinger succeeds in transposing to onlookers the cold of the icy landscape with green and silver trees shimmering with snowflakes under a royal blue sky with twinkling stars.  

In this Land of Believe, an orphan elf, Buddy (David Schlump) has discovered he's not an elf at all but a real, live human! (Political side noteDo you think if our president to the North Pole he would discover he's human, after all?)

Is Buddy always this cheery? After years of living happily in Elf Kingdom, as Christmas approaches and with help from Santa (Kevin McAllister), Buddy determines to find his real bad, sad dad who is like many in New York City who work night and day.
  
Bobby Smith, the dad named Walter Hobbs, is always perfect in his sour old man roles, with a demeanor and mannerisms to convey his intense dissatisfaction with life, except for his loving wife (Janine Sunday), another make believe character, right from Santaland.  She is the stepmom of Hobbs's son, Michael, age 12, who actually likes his stepmom. (Thank you, screenwriter David Berenbaum for not casting women as constant evildoers.)

Tyler Quintin Smallwood (and on alternate nights, Eli Langer) is Michael who says that children of workaholics are prone to self-esteem issues, and, "basically he's not even a dad." (Sad face.) Tyler is spot on in this role with a voice to match.

The show has lots of side angles, and you may be able to figure out the ending, but the entertainment is sure fun along the way. 

Two of my favorite characters were the sassy, prancing Nova Y. Payton who is Deb, Hobbs's office assistant, and Calvin McCullough, the manager at Macy's who hires Buddy and asks: Is this "corporate" or is it not?

The tunes are mostly unknowns which doesn't affect enjoyment. Sad solos are not my cup of eggnog, for I tend to lean towards multi-voices like the "fake Santas" who dance and perform splits simultaneously mid-air while singing "Nobody Cares About Santa." 

Elf is a delight, for most ages (with a few naughty words), and plenty of adult quips to spread audience laughter which sometimes overcomes the dialogue. That's good!

At the end, you may skip all the way to your car and be like the woman who sat next to me and turned to say: "I think I may see this again."  Pause. "I will see this again!" 

Angie Benson directs a nine-member orchestra in the pit.

Other cast members are Patricia Hurley, who is Jovie, Buddy's girlfriend, and Marty Austin Lamar, Mr. Greenway, the big, bad bossman.

In the ensemble are Jessica Bennett, Michelle E. Carter, Jennifer Flohr, Isabel Garcia, Andre Hinds, Christian Montgomery, Taylor Elise Rector, Connor James Reilly, Sarah Anne Sillers, David Singleton, and Lara Zim.

James Mernin and Amanda Kaplan are swings.


The crew includes Matt Rowe, sound director;
Max Doolittle, lighting; Kylie Clark, puppet master;
Sarah Tundermann, projection; Dori Beau Seigneur, wigs and hair; and John Keith Hall, production stage manager

Score by Matthew Sklar and Chad Beguelin. Jason Loewith, artistic director. Debbie Ellinghaus, managing director
 
What: Elf The Musical by Thomas Meehan and Bob Martin
 
Where: Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832.

When: Now through January 6, 2019, Wednesday through Saturday at 8 p.m. with matinees, Wednesday, Saturday, and Sunday at 2 p.m. and more matinees at 2 p.m., Friday, Dec. 21, and Monday, Dec. 31.

Specially enhanced performances for the blind and hearing impaired Wednesday, Nov. 28 at 8 p.m. and Saturday, Dec. 1 at 2 p.m. with a sign interpreted performance Thursday, Dec. 6 at 8 p.m.

Post show discussions:  After matinees, Dec. 1, 8, and 15

Tickets: Begin at $59 with discounts for groups, seniors, military, and students

Ages: The movie was rated "PG."



Duration: 2.5 hours with one 15 minute intermission

Refreshments: Available and may be taken to seats

Parking: Free and plentiful on-site

For more information
: 301-924-3400 for the box office or 301-924-4485.

patricialesli@gmail.com



Sunday, November 11, 2018

Veterans Day 2018 at the Vietnam Veterans Memorial, Washington, D.C.

 At the annual Veterans Day tribute at the Vietnam Veterans Memorial, the 25th anniversary of the first monument on the National Mall to honor female troops in the war, the Vietnam Women Memorial, was celebrated. The wreath above, "Never Again" from Vietnam Veterans Against the War, was one of several at the women's memorial.

The sculptor, Glenda Goodacre, wrote for the program that her ill health prevented her attendance today but "how proud I am to have been a part of your remarkable accomplishments....the Vietnam Women's Memorial has been my most gratifying commission....The response to my work is what a public art creator would hope for in her wildest dreams."/Photo by Patricia Leslie
At the Vietnam Women's Memorial, Washington, D.C. Veterans Day, 2018/
Photo by Patricia Leslie
The Vietnam Women's Memorial, sculpted by Glenda Goodacre, Washington, D.C. Veterans Day, 2018/Photo by Patricia Leslie
The Vietnam Women's Memorial, sculpted by Glenda Goodacre, Washington, D.C. Veterans Day, 2018/Photo by Patricia Leslie
Looking up a name on the Vietnam Veterans Memorial, Washington, D.C. Veterans Day, 2018/Photo by Patricia Leslie
 Looking up a name on the Vietnam Veterans Memorial, Washington, D.C. Veterans Day, 2018/Photo by Patricia Leslie
 At the annual Veterans Day ceremony at the Vietnam Veterans Memorial, Washington, D.C., 2018/Photo by Patricia Leslie.

Kera O'Bryon sang the "Star-Spangled Banner." The speakers included Diane Carlson Evans, the founder of the Vietnam Women's Memorial, and Patricia Trap, acting superintendent of the National Mall and Memorial Parks who said the names of eight women were among the 58,318 listed on the Wall who died as a result of the war in Vietnam.
The Joint Forces Color Guard prepares to present the colors at the annual Veterans Day ceremony at the Vietnam Veterans Memorial, Washington, D.C., 2018/Photo by Patricia Leslie
The Joint Forces Color Guard prepares to present the colors at the annual Veterans Day ceremony at the Vietnam Veterans Memorial, Washington, D.C., 2018/Photo by Patricia Leslie


The Joint Forces Color Guard prepares to present the colors at the annual Veterans Day ceremony at the Vietnam Veterans Memorial, Washington, D.C., 2018/Photo by Patricia Leslie
The Joint Forces Color Guard prepares to present the colors at the annual Veterans Day ceremony at the Vietnam Veterans Memorial, Washington, D.C., 2018/Photo by Patricia Leslie


At the Vietnam Veterans Memorial, Washington, D.C. Veterans Day, 2018/Photo by Patricia Leslie
Jim Knotts, the Wall Memorial Foundation president and CEO of the Vietnam Veterans Memorial Fund, speaks at the annual Veterans Day ceremony at the Vietnam Veterans Memorial, Washington, D.C., 2018/Photo by Patricia Leslie
 A member of the Australia chapter of Vietnam Veterans at the annual Veterans Day ceremony at the Vietnam Veterans Memorial, Washington, D.C., 2018/Photo by Patricia Leslie
 At the annual Veterans Day ceremony at the Vietnam Veterans Memorial, Washington, D.C.  2018, traveling in style/Photo by Patricia Leslie

A member of the Boy Scouts Order of the Arrow at the annual Veterans Day ceremony at the Vietnam Veterans Memorial, Washington, D.C., 2018/Photo by Patricia Leslie
The Three Servicemen Statue by Frederick Hart near the Vietnam Veterans Memorial, Washington, D.C. Veterans Day, 2018/Photo by Patricia Leslie
At the annual Veterans Day ceremony at the Vietnam Veterans Memorial, Washington, D.C., 2018/Photo by Patricia Leslie

patricialesli@gmail.com

Sunday, November 4, 2018

Mosaic Theater's outstanding 'Agitators'


 Ro Boddie is Frederick Douglass and Marni Penning is Susan B. Anthony in Mosaic Theater Company's The Agitators/Photo by Stan Barouh


It is unlikely that I would have had the keen interest in Mosaic Theater's newest play, The Agitators, had I not read Narrative of the Life of Frederick Douglass, an American Slave nor had visited his Washington home earlier this year, Cedar Hill.

My visit to Cedar Hill was occasioned by the 200th birthday celebration for Mr. Douglass (1818-1895) although his exact birth year and date are conjecture since he was born into slavery when record-keeping of slaves was not guaranteed.

Mosaic's Agitators are Mr. Douglass and his longtime friend and collaborator-in-charge-of-change, Susan B. Anthony (1820-1906) who happened to share the same time frame in life. 
 
 Seated are Ro Boddie as Frederick Douglass and Marni Penning as Susan B. Anthony with Adanna Paul and Josh Adams in Mosaic Theater Company's The Agitators/Photo by Stan Barouh

"Slavery is what stole the first 20 years of my life," Mr. Douglass says in the play, and, agitation is the spark leading to change.

Ms. Anthony says her father didn't vote because, had he voted, he would have become part of the corruption.
 

Mr. Douglass and Ms. Anthony are friends, they are rivals, they are revolutionaries, she, an ardent suffragette, and he, an impassioned abolitionist who also shared Ms. Anthony's ideas to get the vote for women.

They worked night and day to correct society's wrongs.
 

The Agitators' director KenYatta Rogers writes in program notes: "They spent a lifetime pursuing perfection for their fellow Americans....The time has come to learn from their example. 'To use the past only as it [is] useful to the present and the future.'"

Ro Boddie is Mr. Douglass and Marni Penning is Ms. Anthony who did not live to see the 1920 passage of the 19th Amendment to the U.S. Constitution granting women the right to vote. For more than five decades, she worked tirelessly for the amendment's passage.

The play exceeded all forecasts for enlightenment, acting, format, and just plain good theatre, and its program includes an excellent chronology of important events in Douglass's and Anthony's lives.

Rather than two actors sitting on a stage reminiscencing about their times together, they fight and scream and don't always take to each other.  They convincingly discuss their battles to win over public acceptance of their hopes and dreams.

Scenes (by Jonathan Dahm Robertson) change frequently, and they are more than a piece moving once or twice. The initial set led me to low visual expectations, given the rectangular outline with white  flowing curtains, but the versatility soon became obvious.

In one of the most creative places, the duo stand on opposite elevated platforms at a railway station, shouting at each other over the tracks.

Time moves on, projected by listing of years, different hair colors, hairstyles, and Ms. Anthony's fashions (by Amy McDonald.  In the manner of the Kennedy Center which exhibits costumes of ballerinas and opera stars in foyers, Ms. McDonald's designs would be welcome in the Mosaic foyer.)

After the show, the playwright, Mat Smart told me the play originated from a visit he made to  Ms. Anthony's home in Rochester, New York.

He spent a year conducting primary research on the couple, pinpointing visits by both at the same times to the same places:  Albany, Boston, Rochester, Washington, D.C. and more.  Except for the baseball game which he could not say with certainty that Ms. Anthony attended, he speculated she was there because "everybody in town was."

The game was one of the most hilarious scenes in the play which  overall had much more humor than I anticipated.  "Do not quote me to me." 

Mr. Smart told me he left the music choices up to the director and the sound director, David Lamont Wilson, with the stipulation that they mix "the old with the new."

They did and lots more. 

At intermission I turned to the stranger beside me and said I wanted a copy of the music, and she replied that she wanted a copy of the music.  The only piece whose title I could positively identify was Jimi Hendrix's "Star-Spangled Banner."

The music was deliciously eclectic, modern with hip hop and a mix of 19th century songs and sounds, which are rare together, at least on my shelves.

Two nights after the Pittsburgh tragedy, the play ended on an emotionally charged stage with Ari Roth, Mosaic's founding artistic director, Victoria Murray Baatin, the associate artistic director, Mr. Rogers, Mr. Smart and others from the crew holding hands and leading the standing audience to sing several verses of "We Shall Overcome."

Many words from the script fit the sad times that we live today.  Still, the agitators' hope that becomes reality illuminates the dark to tell us that a better day, a new day will come.
“Hope” is the thing with feathers -
That perches in the soul -
And sings the tune without the words -
And never stops - at all -

And sweetest - in the Gale - is heard -
And sore must be the storm -
That could abash the little Bird
That kept so many warm -

I’ve heard it in the chillest land -
And on the strangest Sea -
Yet - never - in Extremity,
It asked a crumb - of me. - (Emily Dickinson)
Also in The Agitators are Adanna Paul and Josh Adams who are background ensemble members.

Additional creative team members are Robert Garner, sound engineer; James Morrison, projections; Alec Sparks, assistant projections; Elena Velasco, movement coordinator; Alberto Segarra, lighting, Emily Boisseau, properties; Shirley Serotsky, dramaturg; and Laurel VanLandingham, production stage manager.

The Mosaic has scheduled other events in conjunction with The Agitators. Before you go, check with the box office about possible changes: 202-399-7993, ext. 2.

Nov. 10, 3 p.m. Voting Rights Today-The Meaning of Centuries of Struggle

Nov. 11, 3 p.m. Black Women's Suffrage-Abolition was Not Enough
 
Nov. 15, 11 a.m. Cast talkback
 
Nov. 17, 3 p.m. Inexhaustible Souls in Collision-The Struggle for the 15th Amendment Meets the Claims of Race and Gender
 
Nov. 18, 3 p.m. We Hold These Truths-Quakers in America
 
Nov. 20, 8 p.m. It Takes Two to Make a Thing Go Right-Necessary Coalitions/Imperfect Partners
 
Nov. 24, 3 p.m. What Makes a Movement?
 
Nov. 25, 7:30 p.m.The Rooms Where It Happens: Politics of Place and the Geography of Freedom 
What: The Agitators
 
When: Now through Nov. 25, 2018 at 8 p.m. Wednesday through Saturday nights; 7:30 p.m. Sunday, Nov. 25; 8 p.m. Tuesday, Nov. 20; weekend matinees at 3 p.m. A Nov. 15 student and senior matinee at 11 a.m. has sold out.

Where: Mosaic Theater Company, Atlas Performing Arts Center, 1333 H Street NE, Washington, D.C. 20002
Getting there: Riding public transportation from Union Station on the streetcar is easy and free, if you can master the hurdle of finding the streetcar behind Union Station. Signage in the station is poor. Parking options are available for those who wish to drive.
 
Tickets start at $20.

Language: Some of the songs drop the F-bomb, and maybe another epithet is heard here and there in the dialogue.

Duration: About two hours with one 15-minute intermission.

For more information: Please call the box office and leave a message: 202-399-7993, ext. 2.
 
patricialesli@gmail.com