A 'Family Murder' in Vienna

Starring in Vienna Theatre Company's An Old Fashioned Family Murder are, from left, Ansley Sherwin as Clarice, Taveion Mickens as Jasper, Michelle Kritzler as Mrs. Peck, and Eddie Perez as THE Junior Detective /Photo by Kevin Lukacs  

Vienna Theatre Company's An Old Fashioned Family Murder will leave you smiling and happy, just like a mysterious comedy should, even if it involves a family murder.

Yeeks!

Director Katie Boone has fleshed out superb acting by all  six players, but no one can do it better than the arrogant and conceited Mr. Arthur Whittington (Charles Boone) spewing condescending remarks whenever he can find  opportunities to build his bullying personality.

And find opportunities a'plenty, he does.

Who cares if he's a famous author? 

Is there a body under there?  Junior Detective Peck (Eddie Perez) wants to know in Vienna Theatre Company's An Old Fashioned Family Murder/Photo by  Kevin Lukacs 

Mr. Whittington arrives at the family mansion of Colonel Claythorne on a "dark and stormy night" as thunder crashes and lightening flashes outside the windows of the fancy parlor. (Realistic crashes and lighting by Myer Kim, Ari McSherry, and Julia O'Beirne.)  

The colonel, age 93, is never seen in person but he dominates the conversation and the stage from his large portrait perched above the fireplace.

The menacing Whittington brings upsetting news for the colonel's two daughters: One of them has been cut out of their father's will!

The will!  

Oh, my! 

Which daughter?

Are you kidding?  

Whatever shall happen to me, me, me?

Glory be!  Charles Boone as Arthur Whittington in Vienna Theatre Company's An Old Fashioned Family Murder celebrates the passage of writer's block/Photo by Kevin Lukacs 

That "me, me, me" is the hilarious and wildly animated "pool boy," Jasper (Taveion Mickens) badly in need of a dictionary and he's also the fiancé of Clarice (Ansley Sherwin), the prissy and aloof daughter dressed in glamourous evening wear, accompanied always by a dangling cigarette.  (Costuming by Juliana Confrancesco and Farrell Hartigan.)

Priggish sister Dottie (Samantha Mitchell) is a bookworm who wears all black neck to knees and who kissed Mr. Whittington on his cheek (?) and what did that mean?  (Mitchell's hesitancy and speech pauses endear her to the audience.) 

Enter the kindly, maybe doddering Mrs. Peck (Michelle Kritzler) who knows a thing or two about murders (her dead husband was a chief detective) and she's got some learnin' to do for this crowd, including that for her son, junior detective Peck (Eddie Perez) whom she summons to help solve the murder of ...?

The mother and son duo make quite the chitchat, but wait...Mrs. Peck is stuffing a piece of paper inside her dress?  Huh?

And, what's this? Sigmund Freud? Mrs. Peck aims to take him down a peg or two.

It’s always fun to pick out whodunnit and this one is not easy.  You should try it and see.  I never get them right.

Unseen cast members are Kim Paul, the radio announcer, and Shelby Kaplan who sings.

Charles Boone not only acts but he designed the set, an elegant, red-velveted walled parlor, just as you'd expect for Joe DiPietro's 1940s show, DiPietro, a two-time Tony Award winner.  

Helping stage the Murder are Kevin Lukacs, producer; Anna Mae Murphy and Suellen Evans, stage managers; Michelle Lukacs, lead set painter, and more of Katie Boone as properties designer and helper for her husband with set dressing.

What: An Old Fashioned Family Murder

When: 7:30 p.m., Friday and Saturday, and 2 p.m., Sunday through Nov. 1.

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

How much: Tickets are $18. Order online at Vienna, VA – WebTrac Ticket Search (myvscloud.com), or buy, if available, at the community center box office.

Duration: About 90 minutes plus an intermission.

Audience:  Recommended for ages 10 and up.

For more information: vtcshows@yahoo.com.

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'Fridamania' arrives at Shakespeare

Vanessa Severo as Frida Kahlo communicates with Diego Rivera in Severo's Frida...A Self Portrait now at Shakespeare Theatre Company/Photo by Michael Brosilow

For Frida lovers, this is a must to see.

She comes in a "self portrait," conceived and written by Vanessa Severo, a woman fascinated by Frida Kahlo after a friend told Severo that she reminded him of the icon.

That observation has led Severo on a never-ending quest to learn as much about the artist as possible, and herewith, her production, Frida...A Self Portrait, presented many times across the globe since 2014 and now in Washington at the Shakespeare Theatre Company

In the one-act play, Severo describes the many traumas of Kahlo's short life (1907-1954), Severo's research  constantly turning up new details and digital information she incorporates in her Frida story.

Frida's polio at age 6 and a devastating bus accident in Mexico City when she was 18 changed her life trajectory from budding medical student to artist.

The wreck broke her spine, ribs, pelvis, foot, leg, and collarbone and led to 30-plus surgeries and constant lifelong pain. 

Her on-again, off-again relationship and marriages to Diego Rivera, two abortions and the discovery of her sister having an affair with her husband increased Kahlo's heartache and anguish, all Severo sketches in her  biography. 

Throughout the show, Severo is energetic and emotional, seemingly breathless at times, while she darts from one side of the stage to the other, often shrieking in pain when still. 

The many costumes she wears in an outstanding and clever design by Jacqueline Penrod hang on clotheslines which crisscross the stage, one of them becoming a rope Frida grasps as she might have held while riding the bus.

Rivera is easy to recognize in an outfit of large coat and pants which surround Frida when she inserts her arm in the coat's armhole and hugs herself.  

One of her last "costumes" was the tight body brace she wore for support.

In an interview printed in the program Severo says Kahlo taught her how to endure pain and to embrace her (their) differences.  

Rachael Cady's extraordinary lighting and Thomas Dixon's sound designs and original musical composition combined with Severo's presentation produce a memorable interpretation of Kahlo's life. 

Other key members of the artistic crew are Severo's friend and collaborator, Joanie Schultz, who directs; Katherine Davis, costume designer, and Janine Vanderhoff, stage manager.

What: Frida...A Self Portrait

When: Now through Nov. 8, 2026

Where: Klein Theatre, Shakespeare Theatre Company, 450 7th Street, N.W.

Tickets: Start at $39

Box office: 202-547- 1122

Duration: About 75 minutes without intermission

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'Man of La Mancha' is a dream in Manassas

From left, Emilie Marshall Peace is Aldonza, Nate Mikami is Don Quixote, George Fulda is Sancho Panza, and (above) Adam Cook is the Innkeeper in Prince William Little Theatre's Man of La Mancha/Photo by Heather Reagan

For those who may need a picker-upper, take my advice and go online right now and get tickets for Prince William Little Theatre's marvelous musical, Man of La Mancha.

It’s a wonderful cure for whatever might ail you, certain to provide healing and a mental uplift since it’s likely a few bars of The Impossible Dream may strum in your head for a few days after you see it, and maybe thrust you into ... whatever.

And why not?

Nate Mikami is the man who commands the show with a passionate, convincing portrayal (let alone singing voice) of Don Quixote, the fictional character created by Miguel de Cervantes in the early 17th century, in a story Wikipedia calls the first modern novel, one of the most translated in the world.

Bob Rosenberg is the Captain of the Inquisition in Prince William Little Theatre's Man of La Mancha/Photo by Heather Reagan

Cervantes writes fictionally of himself, thrown into a dungeon in the late 16th century during the Spanish Inquisition with his manservant (who later becomes Sancho [George Fulda]). 

The show is a play within a play but don't let that confuse you because it doesn't.

To convince fellow prisoners in the dungeon to save his belongings (his manuscript), Cervantes pleads with them to let him tell his tale and they can be part of it! 

 A good deal, no? 

 And away they go on a trail of adventures with the newly names Don Quixote as the leader of the pack, a man who can turn windmills into giants and make castles out of taverns.

From left, Kaitlin Craig, John Totten as the Padre, Caroline Kinney as Antonia sing I'm Only Thinking of Him in Prince William Little Theatre's Man of La Mancha/Photo by Heather Reagan

"I hope to add a measure of grace to the world," Don Quixote says, following his quest to see things that others don't (and maybe, not see what others see!).

The energetic and humorous Sancho who likes Don Quixote a lot (!), hop scotches all over the stage while they "travel" and soon encounter a lovely lady, a sassy harlot (Emilie Marshal Peace) besotted by a bad reputation. Don Quixote makes a quest to rescue her from her poor self-image, shepherding the lass into becoming the remarkable woman of confidence and strength she is.

He changes her name from Aldonza to Dulcinea. She, not so willing for a name change.

Please! Be wary of scoundrels along the travel route, like "moors" who can bewitch adventurers with song and dance and steal their prized possessions (like a manuscript) while subjects are under their spell. (Tammy West in a red skirt with the long dangly silver belt danced circles around the victims in more ways than one. [The audience groaned and tried to warn the blissfully ignorant of impending theft!])

Throughout the show, the actors’ conviviality is evident and their delight transfers to the audience.

The music of the 14 (!) member orchestra under the direction of Chuck Schmidt was a critical piece of the show's enjoyment, impossible to dream this show without them.

Ken and Patti Crowley’s always effective lighting with changing colors and intensity give certain scenes a special glow to complement the story. Their spotlight is especially prominent when the captain of the Inquisition (Bob Rosenberg) in silver armor opens the iron gate at the top of the dungeon to deliver a haunting message in a shimmering combination. (Riley Leonhardt, designer of period costumes.)

It's been years since I've seen this Man, and how I’ve missed him and his message of perseverance and hope that never grows old.

The show is one of the first historically fictionalized musicals to be presented on stage, winning five Tony Awards in 1966, including Best Musical and Best Original Score for Dale Wasserman, Mitch Leigh, and Joe Carion.

Other cast members are: Chris Anderson, John Totten, Caroline Kinney, Kaitlin Craig, Adam Cook, Luis Vasquez, Brad Blythe, David Maeng, Dave Reph, Sally Ann Flores, and Amy Treat.

Suzy Moorstein directs with stage management by Samantha and Elliot Fulda.

Other production creators are Will Taft, sound direction; Vince Worthington, set design; Laura Mills, properties; and Kim Leone, intimacy coordinator and fight choreographer.

What: Man of La Mancha

When: Friday and Saturday, Oct. 16-17 at 8 p.m. and 7 p.m., respectively, and Saturday and Sunday matinees at 2 p.m. Oct. 17-18

Where: Hylton Performing Art Center, 10960 George Mason Circle, Manassas, VA 20110

Cost (with fees): Adults, $35; Seniors, $29; Students, Military, Groups, $25

For more information: Ticket office: 703-993-7759, Tuesday - Saturday, 10 a.m. - 6 p.m. or email: Hylton@gmu.edu, ph. 703-993-7550

Alert: Before the curtain goes up, an announcement is made that the show contains matters of mental health and sexual assault.

Don Quixote and Sancho Pancho. Engraving by Gustave Doré/Wikipedia, 1863

Don Quixote goes mad from his reading of books of chivalry.  Engraving by Gustave Doré/Wikipedia. Originally published 1863; this edition 1906.

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The Frick is a must museum in NYC

The Frick Collection at the corner of Fifth Avenue and East 70th Street, across from Central Park in New York City/By Patricia Leslie

When in New York, see how the one percenters used to live (and still do!) in the early 20th century by visiting a Beaux Arts mansion built in 1913-14 by Henry Clay Frick. 

After Mr. Frick and his wife, Adelaide, died in 1919 and 1931, respectively, their home and vast Frick Art Collection opened to the public in 1935, per the Frick will.

Last year Wikipedia estimated the collection to number about 1,800 pieces.

The interior courtyard, visible from several galleries, is the only place at the Frick where the public is permitted to take pictures/By Patricia Leslie

The Frick residence was one of New York's last Gilded Age mansions which was closed most recently from 2021-25 for renovations and expansion.

Last year's re-opening unveiled the second floor to the public with a special gallery dedicated to Francois Boucher’s panels as they hung during the Fricks’ residency.

The layout of the former residence is preserved.

Inside the opulence is the opulence (!) of many masters: Vermeer (2), Bellini, Rembrandt (his 1658 self-portrait), El Greco, Goya, Velázquez, Fragonard (repeat) Fragonard. (His Progress of Love series, displayed in multiple galleries, can honestly send one skipping up to the clouds. It took me a while to come down.)

Most of the collection is 14th - 19th century European, but it's not all painting: Sculpture and decorative arts are important pieces. The huge collection with so many famous renderings can take your breath away.

And it's not a crowded place (à la the Met, MoMA, and the Whitney), since elbowers and territorial intruders are absent. One may stand solo for several moments in front of a particularly appealing (or not-so appealing) work.

Wall labels are non-existent, but a handy mobile guide and QR code answer most questions.

When I visited the Frick earlier this year, the romantic Ruffles & Ribbons: Fashion Plates from the Time of Marie Antoinette was on view with a display of apparel from different social classes, the most outrageous (excuse, s’il vous plaît), extreme "headwear" or "headgear" or whatever you'd like to call it, but all, especially delightful.

Below are some examples:

Gallerie des modes et costumes français. 6e Cahier de Modes Françaises pour les Coeffures, despuis 1776. ca. 1778. Designer unknown, Hand-colored engraving
Frick Art Research Library; Gift of Melinda Martin Sullivan, 2016

How about some water for your ship, madam? Look closely at the upper left photo and you’ll see a frigate sailing in the woman’s “pouf,” but perhaps she served as lookout for La Junon.

From the Frick website: “Pouf of the Day”:
A pouf is a towering coiffure composed variously of wire, gauze, pomatum (a styling ointment), and often false hair mixed with the wearer's own hair. Poufs could be inspired by contemporary events, such as when the French frigate La Junon captured the British Navy's Fox in 1778 (upper left), and at times they took playful names, such as the hérisson (hedgehog) style (top right).  (For some reason, Pete Hegseth's image comes to mind.)

Gallerie des modes et costumes français. Cahier des Costumes français. Suite d'Habillemens de Femmes à la mode.
ca. 1778*

The Frick's website says this lady is an example of a working-class woman who wore expensive fashions she hoped to sell. She carries a box of goods and models a taffeta hood (to protect her "pouf"), silk mittens and a bracelet, everything available for purchase. 

Gallerie des modes et costumes français. Cahier de Costumes Français. Suite d'Habillemens à la mode, en 1780. 
ca. 1780*

But, where's my horse?

According to the Frick, the double-breasted redingote was the French adaptation of the full-length English riding coat, originally designed for riding horseback in the country. Its 18th century popularity reflected the French admiration for British tailoring and culture.

Gallerie des modes et costumes français. Cahier des Costumes Français. Suite d'Habillemens à la mode, en 1781. 
ca. 1781*

(She may be covering up the dead.)

Frick's website says that after the death of a royal, the whole (!) nation was expected to observe the grand deuil de cour (full-court mourning)—a mandated mourning dress code—for up to a year (depending on the rank of the deceased). During that time, no colors or jewelry could be worn.

This dress code had three stages:  First, one had to wear non-reflective black clothes of wool or poplin for several months (as shown above), then, clothes of black silk or satin, and finally, "half-mourning" black and white garments. (Is that her shoe or a rat under her skirt?)

Opening Oct. 15, 2026 at the Frick is the new exhibition, Siena: The Art of Bronze, 1450–1500 (through Jan. 18, 2027) with 40+ works, many never publicly displayed outside Tuscany.  It is "the first exhibition to focus on Siena as a center of artistic excellence and technical innovation in bronze sculpture during the Italian Renaissance." Louis Vitton, lead sponsor. (See other future exhibitions here.)  

I didn't have nearly enough time for the Frick (only an hour) and must re-visit upon my next trip to the Big Apple.

Henry Clay Frick and his daughter, Helen, 1910, by Edmund Charles Tarbell (1862-1938)/National Portrait Gallery/Wikipedia

Just after her father's death, the Fricks’ daughter, Helen Clay Frick, founded the Frick Art Research Library, “one of the world’s top art history research centers” according to the website, which offers its collection and services to scholars, students, and the public for free.

What: The Frick Collection

When: Open every day except Tuesday, 10:30 a.m. - 5:30 p.m. (First Fridays until 9 p.m. with free admission.  See below.) Some galleries are closed until Oct. 12, 2026 for installations.

Where: One East 70th St., NY, NY 10021. On Fifth Avenue across from Central Park.

How much: No charge for children ages 10 - 18. (Children under age 10 are not admitted.) Adults ($30), seniors and disabled ($22; free for caregiver), students ($17).  Free admission for area university students. (See website.) 

Pay-what-you-wish on Wednesdays, 1:30 - 5:30 p.m. with guaranteed admission for $5 and free Louis Vitton First Friday evenings (5:30 – 9 p.m.) through May, 2027, excepting January.  (Free timed tickets encouraged but walk-ins, welcome.)

For more information:  212-288-0700; info@frick.org. 

*Unless otherwise noted:  This is designed by Pierre-Thomas Le Clerc (1740-1796) and engraved by Nicholas Dupin (1753-1805 or after).  Hand-colored engraving; Frick Art Research Library, gift of Melinda Martin Sullivan, 2016.

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