Renaissance prints at the National Gallery of Art

Daniel Hopfer, Hieronymus Hopfer, Emperor Charles V, 1520 (1521?), etching (iron) with open biting and unique contemporary hand-coloring in green, red, yellow, pink and brown, Purchased as the Gift of Ladislaus and Beatrix von Hoffmann, National Gallery of Art. Charles excommunicated Martin Luther (below) for his radical teachings. 

Albrecht Dürer, Saint Jerome Penitent in the Wilderness, c. 1496, engraving on laid paper, Joan and David Maxwell Fund, Pepita Milmore Memorial Fund and The Ahmanson Foundation, National Gallery of Art

If you missed the exhibition of Renaissance prints at the National Gallery of Art, here's a look at a few of them which held the most fascination for me.

The show celebrated NGA's recent acquisition of works by printmakers from Germany, Switzerland, and the Netherlands who drew religious and allegorical scenes, Martin Luther, Emperors Maximilian I and Charles V, and more.

I love allegory and its hidden messages which we don't see enough today.

This fellow who looks like he's wearing a chef's cap is Martin Luther, 1523, who, in the drawing, wears a monk's cowl and a theology professor's cap. The artist has framed his head with a halo. The Latin translates: Luther's figure will decay, his Christian spirit will never die. The label copy says the artist was Daniel Hopfer after Lucas Cranach the Elder, From the 

Ruth and Jacob Kainen Memorial Acquisition Fund, National Gallery of Art

 
Lucas van Doetechum, Johannes van Doetechum the Elder, Hans Vredeman de Vries, Hieronymus Cock, Perspective View of a Street, 1560, etching with engraving on laid paper, Ailsa Mellon Bruce Fund, National Gallery of Art. Since the four artists identified with Perspective are all Netherlandish, one suspects the street is Netherlandish, too, although its location is not listed. 

Jan Sadeler I, Joos van Winghe, A Pleasure House, 1588, engraving on laid paper, Ailsa Mellon Bruce Fund, National Gallery of Art.

Debauchery galore! See the woman on the right accepting money while she looks the other way at the man who's involved with another woman while simultaneously attempting to lure the first woman.  Harvey Weinstein in the 16th century!  Even the statue in the center contributes to the melee.  It's always the woman's fault.  The Latin inscription at the bottom reads: Wine and women will cause the wise to apostatize and he who joins in formication will be unrighteousness. My words! The devil enters at left to lead them to Hell's hinterland.  You better watch out; you better not cry.

Detail of A Pleasure House

Detail of A Pleasure House

Philip Galle after Pieter Bruegel the Elder, The Parable of the Wise and Foolish Virgins, c. 1560-1563, Rosenwald Collection, National Gallery of Art. The label copy said we'd better prepare for Judgment Day. On the left five virgins ignore the enticements of the musician above to work on their handicraft and keep their lamps lit while awaiting the groom (Jesus Christ). The women on the right are sinful creatures who've given up their lamps to enjoy the bagpiper's music and dance. The Latin inscription at the bottom reads something like: We extinguish our lamps with your oil and it is not enough for us and you which means...? Keep the lamps lit (?)! Fascinating, whatever the meaning and intention. Something for the preachers to talk about on Sunday.

Hans Lützelburger, Master NH, Battle of Naked Men and Peasants, 1522, woodcut on laid paper, Ruth and Jacob Kainen Memorial Acquisition Fund, National Gallery of Art.  Lützelburger had been a blockcutter in Augsburg on several projects for Holy Roman Emperor Maximilian I, and after the emperor died in 1519, Lützelburger made this sheet as an advertisement of his abilities as an artist of the human form. Note the amputated limbs at the bottom. While fierce battle ensues, see the calm discussion on the right. 

Detail of Battle of Naked Men and Peasants

The drawings depict national military prowess and moral messages, demonstrating popular themes and the leaders Northern European Renaissance artists of the 15th and 16th century drew for growing audiences.

The prints were relatively inexpensive and easy to transport for more to see and to buy.

In Pleasure House, alcohol loosens societal and personal constraints to allow excuses for the search for carnal pleasures! It's interesting to delve into them and find what you may.

The NGA's Brooks Rich, associate curator of old master prints, curated.

More examples of the works may be found at the link above. For personal viewing, you may enter titles and/or the artist's name at NGA's website to find their current locations at the Gallery.


What was: The Renaissance in the North: New Prints and Perspectives


When: The National Gallery hours are 10 a.m. - 5 p.m. daily.

Where: National Gallery of Art, 6th and Constitution, Washington

How much: Admission is 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

Accessibility information: (202) 842-6905

patricialesli@gmail.com 

Olney's 'Beauty,' a delightful holiday gift!

From left, Bobby Smith as Lumiere and Jade Jones as Belle in Olney Theatre  Center's Disney's Beauty and the Beast/Teresa Castracane Photography 

If there are one or two words to capture the essence of Olney Theatre Center's Disney's Beauty and the Beast, I would choose "adorable" and "charming."

Not a theatre lover? You will be.

Folks, it's Broadway comes to Olney in the revival of Beauty and the Beast which was cut short last year by a Covid variant, of course.

From the start, the show dazzles with action, verve, and terrific choreography (by Broadway star Josh Walden) which never stops.

My fav (per usual whenever he's on stage) is the hilarious Bobby Smith as Lumiere whose light fantastic on national and New York stages becomes obvious in short order.

How did he hold up those lights, candles, lamps whatever they were for so long? An arm support, maybe?

The show has lots of comedy, including Lumiere's slapstick partner, a (cuckoo) clock named Cogsworth (Dylan Arrendondo). The two are a natural duo of fast conversations, dancing and jumping around opposite each other to often steal a scene.

From left, Kelli Blackwell as Mrs. Potts, Jade Jones as Belle, and Tracy Lynn Olivera as Madame de la Grande Bouche in Olney Theatre Center's Disney's Beauty and the Beast/Teresa Castracane Photography

Another amazing "hold" is found in the right arm of Mrs. Potts (Kelli Blackwell), frozen as it were in the shape of a teapot (that's what she is) whenever she's on stage, tottering from side to side.

From left, Jade Jones as Belle, Evan Ruggiero as the Beast, Bobby Smith as Lumiere, and Dylan Arrendondo as Cogsworth in Olney Theatre Center's Disney's Beauty and the Beast/Teresa Castracane Photography

Speaking of perpetual physical demands, I found myself silently applauding the skillful maneuvering by the "Beast" (Evan Ruggerio) who kept his peg leg well hidden behind his knee and the long coats he wore. Little did I know what truth lay under the garments! More than meets the eye! A surprising feat!

Ruggerio was mysterious and stooped in all the moments that demanded a hunchback until...

It wasn't only the "beast" whose looks are deceiving but the beauty's, too, acted by Helen Hayes' two-time nominee Jade Jones as Belle, the centerpiece of the story with a vibrant, stellar voice to undercut any doubts for those who judge by appearances only.

She has lots of competition when it comes to stars in the show.

Where to begin? 

The dimmer ones almost outshine the brightest ones!

Like another of my other favorites, Tracy Lynn Olivera who is Madame de la Grande Bouche (French for "madam of the big mouth"). This multi-Helen Hayes winner has a sharp delivery and effervescent humor in addition to an excellent voice whose high notes never faltered and always peaked with ease.

Michael Burrell is Gaston whose sidekick, LeFeu (French for "the fool") make an energetic team trying to win the girl. (John Sygar is LeFeu whose acrobatics with Mr. Burrell made me envious of their abilities to leap, sprawl, rock and roll.)

The ensemble couldn't have been better! From dancing to vocals, they enlivened every scene with their performances and costumes (by Ivania Stack whose stunning, luxurious gown for Belle drew gasps when Belle first appeared in it on stage, sometimes with sharp utensils which could bend at every angle (? You have to be there.).

Wig designer Ali Pohanka had her head full of creations for the many 18th-century wigs which never fell or slid from the tops of any actor. 

How did they keep them attached amidst all the gyrations?

Helen Hayes winner Walter “Bobby“ McCoy leads the hidden nine-piece orchestra, the live music which is critical to increased enjoyment of the production even while sometimes competing with voices onstage.

If you've never seen the show, it's about a missing father (Sasha Olinick is Maurice) whose daughter, Belle, goes in search for him and stumbles upon a mysterious and cobwebbed mansion filled with all things ghastly. (Applause to Narelle Sissons for her magnificent sets.)

The story may be a bit predictable, but it's marvelous entertainment and sure to enchant all who come (save the very youngest).

Alert: Do not judge a book by its cover. There's more than meets the eye. Especially if horns are attached. 

Others in the show are Hailey Ibberson, Connor James Reilly, Michael Wood and ensemble members,

Jessica Bennett, Ariana Caldwell, Selena Clyne-Galindo, Miya Hamashige, Erica Leigh Hansen, Ariel Messeca, David Singleton, Megan Tatum, and Tyler M. White.

Tony-nominated Marcia Milgrom Dodge directs.

Other creative members are Colin K. Bills, lighting; Matt Rose, sound; John Keith Hall, production stage manager; Phillip Snider, Cat Moreschi and Conri Connell, assistant stage managers; and Robb Hunter, fight choreographer who achieves immense success with the various physical conflicts.

What: Disney's Beauty and the Beast by Alan Menken, Howard Ashman, Tim Rice, and Linda Woolverton


When: Through Jan. 1, 2023, Wednesday through Saturday at 8 p.m. except Christmas Eve and New Year's Eve; matinees at 2 p.m. Saturdays, Sundays, and Wednesday, Nov. 30, Dec. 21 and Dec. 28.

A sign-interpreted performance Thursday, Dec. 1st at 8:00p.m. (Email wbrown@olneytheatre.org.)

Draw Yourself Into the Story! For children, Sunday, Dec. 11, 2022, 11 a.m. Olney provides the paper, colored pencils, and lots more! $5 each or free for members.

Where: Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832.

Tickets: Start at $42-$99 available at olneytheatre.org and 301-924-3400.

Ages: For all, except toddlers

Language: G

Masks: Required at Wednesday and Sunday performances; recommended at other performances.

Parking: Free, lighted and plentiful on-site

For more information: 301-924-3400 for the box office, Wed. - Sat., 12 - 6 p.m. or 301-924-4485


patricialesli@gmail.com

The best audio book ever! 'Be My Baby'

I have listened to many audiobooks but none as great as Be My Baby: A Memoir by Ronnie Spector, the lead singer of the Ronettes who released the song, "Be My Baby" in 1963.

The record shot to the top of the charts and upended the lives of the Ronettes, some for good, some for not-so-good, but worth it!

The trio gained instant, unending fame.

For all the music fans who remember the song or hear it on the radio, this is a "must listen" book.

It’s delightful, heartbreaking, and one I never wanted to end.

I couldn't wait to jump back in my car and turn it back on again.

Earlier, I had tried reading the book but it failed to "grab me" after a few pages, and I put it down.

But the audio is different. It's the opposite!

Most audio books are not read by the author and many voices just don't fit. I shut them off early and return the copy to the library.

But Rosie Perez is something special. She is perfect on this score, the New York voice on the audio who delivers the memoir in a personable, first-person account of Ronnie's life with all its ups and downs and harsh realities, including her six mostly agonizing years as the wife of Phil Spector, music producer extraordinaire. (If you thought he was weird, you ain’t heard nuthin’ yet!)

Ronnie describes the prison-like conditions she endured as his wife which took her mother to rescue her (again).

In the book (co-written with Vince Waldron), John Lennon, Keith Richards (who wrote a forward to the 2022 edition) and several more "big" stars make more than cameo appearances, and it's reassuring to find out they are/were "normal," more or less, like you and me (although with a bit more in their wallets!).

Of course, Phil Spector was not "normal" in the "normal" sense (geniuses seldom are), but extremely possessive and controlling of Ronnie, such that (for  one example), he refused to let her accept the Beatles' invitation to tour with them and fly on their plane, but, wait...Spector permitted himself to fly on their plane.

In 2021 he died of Covid in a hospital where he was taken from prison, serving 19 years for the murder of actress Lana Clarkson at his mansion.

Ronnie Spector died last January of cancer right after she had updated her 1990 best-seller Be My Baby: How I Survived Mascara, Miniskirts, and Madness. In a 2021 postscript she talks about the impacts of Covid, and according to her publisher, she was getting ready for a book tour.

At YouTube two years ago, the video of Ronnie Spector and the Ronettes had recorded 19 million views.

After her death, Cyndi Lauper posted a comment: "We love you Ronnie!"

We miss you, Ronnie!

Excellent 'doubts' are sown in Vienna

 

From left, Gayle Nichols-Grimes as Sister Aloysius and Danielle Comer as Sister James in Vienna Theatre Company's Doubt: A Parable/Photo by Matthew Randall

From left, Danielle Comer as Sister James, Jacquel R. Tomlin as Mrs. Muller, Bruce Alan Rauscher as Father Flynn and  Gayle Nichols-Grimes as Sister Aloysius in Vienna Theatre Company's Doubt: A Parable/Photo by Matthew Randall

This is about a nasty nun on a tirade to get rid of a priest, all because of her suspicions.

With prescient timing, the Vienna Theatre Company presents Doubt: A Parable about the spoils of innuendo and rumor.  It doesn't take much to apply the message to the inhospitable environment in today's world.

One must ask: What role does doubt play in today's society?

"They look smug like they have a secret," says a nun, castigating even poor old Frosty the Snowman who can't escape the malicious net. 

From the beginning, Father Flynn (Bruce Alan Rauscher) delivers a convincing message from the pulpit, an introduction to serious matter.  

With her strong performance and from her first appearance on the stage, Gayle Nichols-Grimes as Sister Aloysius is immediately able to stir audience wrath.  We can only guess at her background and insecurities to want to take down a priest and create more madness in her world. 

Enter Sister Aloysius's weak sister, Sister James (Danielle Comer) who offers her doubts about actions of the father towards a student, the only black pupil at the parochial school where Sister Aloysius is principal. 

And here comes the student's mother,  Mrs. Muller (Jacquel R. Tomlin), another weakling, at least, at first.

Momentum builds as the story advances; battle lines are drawn. The roles call for each actor to gain force and they succeed, amidst powerful silences which increase the tension.

Who would you suppose is the victor at the end?  It's left to the audience to ponder its own doubts and insecurities.

More than once during the performance I was reminded of the Salem Witch Trials and suspicion in the late 17th century which killed 19 persons.

That a large attendance surrendered a beautiful Sunday afternoon for a darkened hall of serious theatre in Vienna was surprising and worth it.

Applause to Tom Epps (co-producer with Laura Fargotstein) and his lighting, always right on target to the second.

Beverley Benda's costumes are appropriate, mostly all in black (surprise!) save Mrs. Muller's lovely hat and lavender outfit which contrast like springtime flowers on this stage of unhappy people.

The nuns' caps brought to mind the Salem Witch Trials' costumery which may match contemporary Catholic costumery for the little I know.

Director Joanna Henry has the performers use their hands to wring, wither, grasp and point to emphasize their words, and they work!

Steve Ross and Helen Bard-Sobola have designed Sister Aloysius's office in harsh design and properties, a stark reminder of her unforgiving character. Her domicile counterbalances the pleasant garden which lies nearby and serves as a place of reflection.

The experience of live performance becomes more enjoyable with Alan Wray's sounds of an approaching storm, bells, and children laughing, in hallways, and in the gymnasium.

I look forward to a reversal of the play when the priest is the antagonist and the nun, the moral superior. Is it always the woman's fault? Beginning with the Garden of Evel (sic), the scripts are written that way. By men.

Other production staff members: Anna-Kathleen Camper, Lauren Markovich, Nick Friedlander, and Heather Plank, stage managers; hair and make-up, Kendel Taylor.

Doubt: A Parable is a 2004 play by John Patrick Shanley which won the 2005 Pulitzer Prize for Drama and the Tony Award for Best Play.  It won all five Drama Desk awards for which it was nominated. The play was adapted as a movie in 2008 and starred Meryl Streep and Philip Seymour Hoffman. It was nominated for several Academy Awards.

According to the program: "The Vienna Theatre Company has been inspired by recent events to intensify our efforts to be a vibrant diverse company dedicated to fine entertainment."

Special free Post-Show Talk Back this Saturday following the Nov. 5 show!  9:30 - 10:15 p.m. with the director and actors.

Language: All "G" at the church!

Audience: For mature children and adults

What: Doubt: A Parable

When: Friday and Saturday nights, at 8 p.m., Nov. 4 and 5, 2022; Sunday matinee, 2 p.m., Nov. 6, 2022,

Where: Vienna Theatre Company, Vienna Community Center, 120 Cherry St., SE, Vienna, VA 22180

Tickets: Online at Vienna, VA – WebTrac Ticket Search (myvscloud.com) or in person at the Vienna Community Center during open hours or before each performance, if available. $15.

patricialesli@gmail.com