A millennial on Millennium Stage

Erez at Millennium Stage, John F. Kennedy Center for the Performing Arts, Washington, D.C. Oct. 7, 2016/photo by Patricia Leslie

One of the performers last week at the Kennedy Center's Millennium Stage was female guitarist and vocalist, Erez, who sounds a lot like Adele and whose homespun songs come from heartache, too.

Erez at Millennium Stage, John F. Kennedy Center for the Performing Arts, Washington, D.C. Oct. 7, 2016/photo by Patricia Leslie

Erez, a Hebrew name for boys which her family discovered after they named her, is from New York and a product of Israel where she grew up and lives. 

She charmed the SRO audience with her own brand of slow jazz, soft rock, and rhythm and blues. It's easy to see why she's a top Israeli vocalist, backed by a band of four on the organ, guitar, acoustics, and percussion.

Erez at Millennium Stage, John F. Kennedy Center for the Performing Arts, Washington, D.C. Oct. 7, 2016/photo by Patricia Leslie

Erez, 23, said she was just coming off tour from New York, and Washington was her last stop in the U.S. before leaving the next day for Tel Aviv. 

She seemed genuinely delighted by the crowd and took several selfies, including one with her back to the audience which, upon request, raised hands.  Her stage presence was easy and comfortable and her maturity, far beyond her years.  No doubt we'll be hearing her name and music a lot more in the future.

Erez at Millennium Stage, John F. Kennedy Center for the Performing Arts, Washington, D.C. Oct. 7, 2016/photo by Patricia Leslie

Erez at Millennium Stage, John F. Kennedy Center for the Performing Arts, Washington, D.C. Oct. 7, 2016/photo by Patricia Leslie

Erez's band at Millennium Stage, John F. Kennedy Center for the Performing Arts, Washington, D.C. Oct. 7, 2016/photo by Patricia Leslie


Words from "Out of Here," however, seemed out of balance with today's current young female population, strong and undeterred by opposites: 

You're right 

I'm wrong

I'm weak

      You're strong



It's not for me to say.

What:  Free performances

When: 6 p.m., seven days a week 365 days a year 

Where: The John F. Kennedy Center for the Performing Arts, 2700 F Street, NW Washington, D.C. 20566

How much: Admission is always free at Millennium Stage.

Duration:  Usually less than an hour

Metro station: Foggy Bottom. Ride a free red shuttle bus (every 10 minutes) at the top of the escalators at Foggy Bottom to KenCen or walk it (10 minutes).


Happy Hour: Before 6 p.m. some beer, wine, and treats are half price at the hall's refreshment stands where servers could use a dose of customer service training at the School for Service Elites, Trader Joe's.

For more information: 800-444-1324 or 202-467-4600


patricialesli@gmail.com

Kennedy Center's 'Phantom' draws ovation

The company sings "Masquerade" to open the second act of "The Phantom of the Opera" at the Kennedy Center/Photo by Alastair Muir

At the end theatergoers stood and cheered the performers who came out on stage to receive the accolades, to bob up and down like puppets, holding hands and moving in rows to a replay of "Masquerade" which they had sung moments earlier in Cameron MacIntosh's remake of Andrew Lloyd Webber's "The Phantom of the Opera" now at the Kennedy Center.

A great show, enjoyable in every respect. And I could see it and hear "The Music of the Night" again. Tonight!

The Phantom (Chris Mann) leads Christine (Katie Travis) to his den in the Kennedy Center's "The Phantom of the Opera"/Photo by Matthew Murphy

Give the people what they want:  exciting melodrama, unforgettable music (lyrics by Charles Hart and Richard Stilgoe), soaring sets, dazzling costumes, voices you wish would echo at every play you ever attend, and that, my friend, explains the endurance and haunting allure of "Phantom," the longest running show on Broadway where it opened in 1988, and in London where it still plays after 30 years.

Storm Lineberger is Raoul in the Kennedy Center's "The Phantom of the Opera" /Photo by Matthew Murphy

From the get-go, before the announcement to shush your phones, you knew this show was set to be another smashing "Phantom" as you gazed upon the large, opening scene with its high, very high ceiling, shrouding a dark, black and shadowy stage, where single cascading strands of light outlined stark statues and forecast the eerie presentation about to unfold. 


I've seen "Phantom" in Nashville, New York, and twice at the Kennedy Center, and it does not become tiresome (like "West Side Story") since it's enlivened by new actors, sets, and magnificent costumes. (Maria Björnson a "designer's designer" says Wikipedia, was the costume designer and Tony winner who died in 2002. Her most famous creation, the show's chandelier, treated a bit differently in this production, is named after her.)


That a strong, melodious voice emanates from the dainty, minute body of Kaitlyn Davis starring as the heroine, Christine Daaé, in "this dream come true" role is unanticipated, Ms. Davis being the understudy for Julia Udine.  (Is it ironic that understudies are part of the script?)
  
Chris Mann, a forceful, credible Phantom in Mann's "dream role," competes against Christine's childhood friend, the handsome, Raoul (Storm Lineberger) whose rich voice matches his appearance.

Other notable cast members are Jacquelynne Fontaine as the talented, strong-willed star of the opera house, Carlotta, (and one can easily understand why she was the main attraction until upended by a little upstart), and the opera house's new owners, Monsieur Firmin (David Benoit) and Monsieur André (Price Waldman) who elicit much-needed noteworthy, lighter moments and audience snickers.


Edgar Degas ballerinas danced and frequently fluttered across the stage and relieved serious undertones (choreography by Scott Ambler).
Not to be overlooked are the musicians under the direction of Dale Rieling and members of the Kennedy Center Opera House, directed by Philippe Auguin.  


"Phantom" is a heartbreaking triangle romance with a not-so-happy ending. Ahhh, whom to choose? The ugly, the banished, the forlorn and forgotten? Or, the handsome knight come to save the poor lass.  You decide.  


Laurence Olivier and Tony awards winner Paule Constable designed the spectacular lighting.

Paul Brown's frequent set changes add to the effectiveness with seamless transitions into offices, dungeons, and behind-the-scenes perspectives on the opera's stage.
Laurence Connor directs, Mick Potter is sound designer, and Nina Dunn, video and production designer.

All I ask of the Kennedy Center is to think of me and seat latecomers (wishing they were somewhere not here again) only at intermission and prohibit candy sales to inhibit the crinkling of little wrappers. 

A phreakish Phantom phan, I am! 


What: Carmen MacIntosh's North American tour, "The Phantom of the Opera"

When:  Now through August 20, 2016 at 7 p.m., weekend matinees at 1 p.m., and a Wednesday matinee, August 17 at 1 p.m.

Where:   John F. Kennedy Center for the Performing Arts, 2700 F. Street, NW, Washington, D.C. 20566

Tickets:  $25 - $209 

Duration:  About 2.5 hours with one intermission 

patricialesli@gmail.com 

National Symphony tickets on sale for $13

Storm Large will sing The Seven Deadly Sins with the National Symphony Orchestra April 28 and 29, 2016/National Symphony Orchestra

You must buy a minimum of three tickets (total = $39 @ $13 each) to get the National Symphony seats at this whoppingly discounted price.  Although the sales price has gone up a little ($2 each) over recent years, it's still a grand deal! 

And there are no handling charges.

Alban Gerhardt will play Elgar's Cellist Concerto in a program with Sir James MacMillan conducting interludes from his opera, The Sacrifice, with the National Symphony Orchestra May 12 and 13, 2016/National Symphony Orchestra

No Saturday night seats are available for $13, but there are Thursday nights, some Fridays, and two Friday "coffee concerts" at 11:30 a.m.

The offer ends Feb. 26 and may be withdrawn at any time.

Leila Josefowicz will play Salonen's Violin Concerto with the National Symphony Orchestra June 2 and 3, 2016/National Symphony Orchestra

For more dollars ($23 or $33 per ticket) you may purchase "prime orchestra" and "premium orchestra" seats.

What a deal! 

All seats are on the orchestra level, and here's the skinny:

Go to nationalsymphony.org/triple play (I've never been able to get it to work) and buy a minimum of three seats and check out, or call 202-416-8500 Monday - Friday, 10 a.m. - 5 p.m. Be sure to mention the "Triple Play" deal.

The sales dates and guest artists are:

Mar. 3 and Mar. 4 (Thursday and Friday eves): Christoph Eschenbach conducting Bruch and two Prokofiev symphonies, with violinist Ray Chen and harpist Adriana Horne.

Mar. 10 and 11 (Thursday eve and Friday morning): Eschenbach conducts works by Brahms and Picker with pianist Jean-Yves Thibaudet who plays Liszt.
 

Mar. 17 and 18 (great way to celebrate St. Paddy's Day; wear green!) (Thursday and Friday eves), however, all $13 seats for both performances are sold out.  Pricier tickets remain. Osmo Vänskä conducts Beethoven's Symphony No. 6 with pianist Nikolai Lugansky playing Brahms.

Mar. 31 and April 1 (Thursday and Friday morning): Cristian Macelaru conducting works by Fauré, Jalbert, and Debussy. Violinist Nikolaj Znaider plays Brahms. 

April 7 only (Thursday eve): Nikolaj Znaider conducting Mahler's Symphony No. 1, and pianist Benjamin Grosvenor playing Mozart.

 

April 14 and 15 (Thursday and Friday eves): Hugh Wolff, conducting works by Barber and Ives with violinist Anne Akiko Meyers who will play Bates. The Friday night performance will start at 9 p.m. and feature an abbreviated show and "party" of sorts called DECLASSIFIED: The B-Sides with Mason Bates and "a sampling of his most innovative hits."

 

April 28 and 29 (Thursday and Friday eves): James Gaffigan conducting works by Rodgers, Dvorák, and Ravel, with Storm Large singing Weill's The Seven Deadly Sins. Another Friday night "party" with abbreviated show starting at 9 p.m.:  DECLASSIFIED: Cabaret of Sin with Large and Hudson Shad performing tunes of "a sweet and sultry mix."

 

May 5 and 6 (Thursday and Friday eves): Andrew Litton conducting Shostakovich's Symphony No. 11, and violinist Vadim Gluzman playing Tchaikovsky.

May 12 and 13 (Thursday and Friday eves): Sir James MacMillan conducting Vaughan Williams, three Interludes from MacMillan's own The Sacrifice, and cellist Alban Gerhardt playing Elgar.

 

June 2 and 3 (Thursday and Friday eves): Eschenbach conducting works by Haydn and Schumann, and violinist Leila Josefowicz who will play Salonen.

 

June 9 and 10 (Thursday and Friday eves): Eschenbach conducting Bruckner's Symphony No. 4, and Nathalie Stutzmann singing Mahler. 

What: The National Symphony Orchestra in concert

Where: The Kennedy Center, 2700 F Street, NW Washington, D.C. 20566

How much: Minimum $39 for three tickets (or $66 or $99). No handling charge.

 

Metro station: Foggy Bottom. You may ride one of the free burgundy shuttles from Foggy Bottom to KenCen or walk it (10 minutes). The shuttles are at the top of the escalators.


For more information: 202-416-8500


patricialesli@gmail.com

 

 

 

 

 

Free dance lessons at the Kennedy Center

In the nightly sky above the roof line at the John F. Kennedy Center for the Performing Arts, it's not the moon or a star or a plane from nearby National Airport, it's a street light/Photo by Patricia Leslie

Estela Velez de Paradez led a flamenco dance lesson at the Millennium Stage at the John F. Kennedy Center for the Performing Arts/Photo by Patricia Leslie

First, you put your hands in the air/Photo by Patricia Leslie

Then, you wave them all about/Photo by Patricia Leslie

 Flamenco dancing is good for the middle/Photo by Patricia Leslie

Instructor Estela Velez de Paradez invited audience members up on the Millennium Stage for a flamenco dance lesson at the John F. Kennedy Center for the Performing Arts/Photo by Patricia Leslie

Can you do it? A one-on-one exchange, and the little girl dressed for the occasion/Photo by Patricia Leslie

A star is born at the Millennium Stage/Photo by Patricia Leslie

I could have danced all night

I could have danced all night

And still have begged for more.

I could have spread my wings 

And done a thousand things...

Wait!

Dancing was not why I was there!

Dancing was not on my menu, but rather...

Music, music, music!

I went to the Kennedy Center's Millennium Stage to hear free music, music, music, and drink Happy Hour beer and eat pretzels.

But, but, but...no music, music, music to be found... or heard.

How about a flamenco dance lesson instead?

Estela Velez de Paradez of Joy of Motion Dance Center led the class, and she stomped.  

Her new students stomped.

She raised her hands.  

The students raised their hands.

She shouted "olé!"  

The students shouted "olé."  

She shouted "olé!" again and demanded a louder "olé!" response, and she got it.

Ms. Velez de Paradez gave a brief history of flamenco dancing (created by Gypsies "to express their emotions") and compared the dance to vino:  "It's like wine; it gets better the older you get" (!)), and she urged everyone present to practice attitude and posture, both critically important to successful flamenco dancing.  

"Stand up straight!  Hold your stomach in!" 

      You put your right foot in,

You take your right foot out,

You put your right foot in,

And you shake it all about

You do the hokey pokey

and you turn yourself around

That's what it's all about

Hold it!  That was not what Estela was leading, and there was no music.

Horrors!  If music ever started, was it to be taped a la Warner's and the Nutcracker?  No musicians nor instruments were seen.

After 30 minutes of stomping and hand wavin' and "ole's" and no signs of music making, I left at 6:30 p.m. and drifted home.  Sad.  

Whoever thought of looking at the schedule?

Coming up!  Another free dance lesson on January 31, 6 p.m., Millennium Stage, Beginner Contemporary Jazz with Jocelyn Isaac. "Please wear clothing you can move in" the Kennedy Center suggests.

When:  Free Millennium Stage performances seven days a week at 6 p.m. which last generally under an hour

Where: The Kennedy Center, 2700 F Street, NW Washington, D.C. 20566

How much: Admission is always free at the Millennium Stage.

Metro station: Foggy Bottom. Ride a free red shuttle bus (every 10 minutes) at the top of the escalators at Foggy Bottom to KenCen or walk it (10 minutes).

For more information:  800-444-1324 or 202-467-4600

patricialesli@gmail.com