Book review: Michael Cohen's 'Disloyal' is must-read

Dear Michael Cohen,

I waited weeks to get your book on the reserve list at the public library and told everyone  when I got in the middle of it, that it's a "must."  I have bought two copies for Christmas gifts, one for my Trumper son, a new attorney, so he can see how you developed and used your lawyerly skills, and the other for my pal, Kim.

At the end just now, all I could say was "WOW." Right on, bro'!  I hope you earn billions from sales.

Whether or not you like Mr. Cohen for ratting on his Boss Man, this is must reading (for the hardcore).

Although no collaborator is mentioned for the book, I suspect one existed  since Disloyal  is exceedingly well assembled and flows mightily down the Trump sewage tank, telling all, an insight into Trump World which pretty well matches the sense we've gained from four years of watching what is perceived as White House chaos and confirmed to be just that by Mr. Cohen.

Disloyal, A Memoir, is a page-turner, all right.

That Ted Cruz can even stand to speak to Trump or be near him after the merciless attack Trump and Team made on Mr. Cruz's father, is shocking. It all began with National Enquirer's David Pecker's assertion that a man photographed with Lee Harvey Oswald bore a resemblance to Mr. Cruz's father and away the conspirators flew.  (Mr. Cruz was a preacher who got under the Trump team's skin.)  Beyond the Enquirer, the story failed to launch until Trump ignited it on, where else? Fox.

Or, the Trumps' creation of birtherism is disgusting, pure and simple, all lies, fitting for this administration, but how it "birthed" the slander is astonishing.

Mr. Cohen says the media elected Trump in 2016 with free press every time Trump did anything remotely outrageous which, as we know, occurs daily.  Often, more than once.

Melania knows her husband is a cheater but Trump tells Mr. Cohen, "I can always get another wife."  

That Michael Cohen's beloved family has held firm to their husband and father in the wake of all the Trump cheats and lies is testimony to a family's endurance and will to combat Evil.

Mr. Cohen lays it all out and takes no pride in his fall to hell where he says the Trump cult resides, in adoration of the master, unable to stop gulping Trump's Kool-Aid.  Mr. Cohen accurately predicted Trump would never leave office willingly or with any traditional grace which cannot be a surprise to anyone.

BTW, I read most of Brian Stelter's Hoax, but more than halfway through, I asked myself:  "Why do you care about Fox?" and ended it right then and there.  Too many anonymous quotes are found herein, but I love Mr.  Stelter's Sunday show, Reliable Sources, and would not miss it. I wonder why CNN didn't use him on E-night.

Next up: Bob Woodward's Rage 

Patricialesli@gmail.com

Book review: Bob Woodward's 'Rage'

Readers, he's much worse than you thought.

The first quarter of Rage is rather ho-hum, nothing much new as Bob Woodward sets the stage.  Momentum picks up when the Trump interviews begin.

This, with Michael Cohen's Disloyal, serve up a man as scatter-brained, tempestuous, vindictive, immature, hateful and superficial as one can possibly imagine any fictional character to be, but he is real, and, praise God, soon to leave Washington, D.C. for, we hope, forever.  Goodbye, you n'er do well!  2021 is looking better and better.

These books confirm my observation that Trump is not that smart. He's more like a toddler throwing temper tantrums. It's all for him or nothing. "I want my way! I want my way!" he bellows, and like a subservient parent, the media gives him "his way" (Cohen). The media elected him, says Cohen. Wait, this is a review of Woodward's book, not Cohen's. Where was I? (Now on to Bolton's.)

Interspersed in Rage are sections on Dr. Anthony Fauci, who, of course, plays a key role as coronavirus takes the spotlight and control from Trump and his sycophants.  The revelations about covid-19's strangulation of the U.S. brings one of the book's few humorous parts when Dr. Fauci describes Trump on page 354:  "His attention span is like a minus number.... His sole purpose is to get re-elected." 

No wonder Trump kicks up a fuss when he loses!  He will not believe it, and no one will tell the emperor he has no clothes.  He's nothing but a blunderbuss who recalcitrant Retrumplicans (Chris Cuomo) are afraid to challenge since the bully may sick a sickophant (sic!) their way! 

Mr. Woodward and Trump give serious discussion to the possibility that China deliberately set the U.S. on virus fire mimicking the SARS outbreak in 2002.

Mr. Woodward's epilogue ends:

 "When his performance as president is taken in its entirety, I can only reach one conclusion:  Trump is the wrong man for the job."  

For a second Rage edition, may I suggest the addition of a leaderboard for readers like me who find it somewhat difficult to keep all the players straight.   

Also, a correction for the location of the Feb. 11, 2020 event (page 244) found in "Source Notes" (p. 411) with Dr. Fauci at the Aspen Institute: It was held here, at Aspen's offices in Washington, D.C. not in Colorado . I know because I was there, and although unlikely, it is possible that the panel presented the same subject on the same day at the Aspen offices in Colorado. (One of the panelists was Ron Klain, later appointed to be President-Elect Biden's chief of staff. Also, it was the same day coronavirus got its official name, covid-19.) 

About the number of presidents (p. 391):  Although there have been 45 presidencies, there have only been 44 presidents since Grover Cleveland served two non-consecutive terms (1885-1889 and 1893-1897).

patricialesli@gmail.com

Make way for Alexandria's 'Blue Stockings'

Paul Donahoe (Mr. Banks), Ilyana Rose-Dávila (Maeve Sullivan), Madeline Byrd (Tess Moffat), Melissa Dunlap (Celia Willbond), Tegan Cohen (Carolyn Addison) in Little Theatre of Alexandria's Blue Stockings/Photo by Matt Liptak

A "blue stocking" in 19th century England was a derisive term meaning a woman who eschewed "wifely duties" and pursuits of the home to advance her own intellectual goals, namely, that of mind enrichment and learning. 

You sometimes hear the term today.   

In this Women's History Month, the Little Theatre of Alexander brings to the stage, Blue Stockings, the first play by Jessica Swale (b. 1982) which presents four young ladies who pursue a higher education, amidst ridicule and attacks by "gentlemen" students who, then as they do now, set about to mold the women, according to their desired tastes. 

"She wants to be a scientist; alas!  She's a woman!" Tsk! Tsk!

Ilyana Rose-Dávila (Maeve Sullivan), Melissa Dunlap (Celia Willbond), Elizabeth Replogle (Miss Blake), Tegan Cohen (Carolyn Addison), Madeline Byrd (Tess Moffat) in Little Theatre of Alexandria's Blue Stockings/Photo by Matt Liptak

The setting is Cambridge University at the first female college for women, Girton College, established in 1869. (It would be another 79 years before women would be accepted at Cambridge [1948].) 

The first scene of the play opens at what appears to be the university or a prison, maybe both.

The drama hits several themes, including females who ride bicycles (this is a theme?) and want to gain their independence, seeking opportunities to attend and graduate from the university. 

Change is hard to tolerate in most circumstances, and these "gentlemen" are going to have none of it!

At least, most of them.

(Back row) Tegan Cohen (Carolyn Addison), Melissa Dunlap (Celia Willbond), Madeline Byrd (Tess Moffat), Ilyana Rose-Dávila (Maeve Sullivan)

(Front row) Robert Heinly (Dr. Maudsley/Professor Collins), Anne Hilleary (Miss Bott/Mrs. Lindley), Michael King (Holmes), Ali Cheraghpour (Edwards), James Blacker (Lloyd), Paul Donahoe (Mr. Banks)  in Little Theatre of Alexandria's Blue Stockings/Photo by Matt Liptak

Enter "Dr. Maudsley" (Robert Heinly), based on a real character, and soon to bear the hatred of most audience members. He questions, he undermines, he belittles the women in his gruff and domineering manner with a commanding voice, seizing every moment, every spotlight and devouring all the attention whenever he's on stage. 

He is thoroughly disgusting and it takes only seconds to grow to hate him.  I believe it was he who said, "This is a lecture hall, not a laundromat," but he was 65 years too early since the term was not used until 1934.

Meanwhile, to counterbalance this most unlikable of unlikables, is "Professor Banks" superbly portrayed by Paul Donahoe, a humorous fellow who exercises patience and support for the women and their goals.

Mr. Donahoe's seesawing hand and arm motions, flung out like the wings of a pterosaur, add energy and enthusiasm to his character.  He is a hero in the time of none (or, one). 

Liz LeBoo as the real-life "Mrs. Welsh," the college head mistress, makes for a stern, yet sympathetic leader.

I loved "Miss Bott" (Anne Hilleary), a perfectly good chaperone and women's hall advisor, so typical in her physical appearance and garb, not as blind and deaf as she seems (like most house mothers!). 

Madeline Byrd is "Tess Moffat," one of the four young women who receives most of the attention and earnestly carries out her duties as a discriminated woman. 

Some humor arrives when the librarian (Joel Durgavich) loudly shushes everybody in the grand manner of yesteryear. 

The British accents came across as unaffected and realistic, not pretentious and overdone, as they often are.

Costumer Joan Lawrence dressed the women according to the times, but the men's apparel seemed to diverge from the era.

Initial derogatory comments about women brought some murmurs of laughter from audience which made me a little uncomfortable that anyone would laugh at these remarks in the 21st century. We still have far to go.

A provocative production which I did not anticipate would bring me to tears, but there they flowed in the last scene, leaving me to think I'm a lucky gal to live now, instead of then! 

Other cast members:  Madeline Byrd, Ilyana Rose-Davila, Melissa Dunlap (also, the dance choreographer), Tegan Cohen, Ali Cheraghpour, James Blacker, Michael King (also fight captain), John Paul Odle, Michael Townsend, Elizabeth Replogle, Khalia Muhammad (also, assistant to the director), Michael Rufo, Will Cooke, Manus Nunan, and Hilary Adams (also, assistant director).

Also in the production crew: Lloyd Bittinger, Margaret Chapman, Christine Farrell, producers; Marzanne Claiborne, director;  Meredith Kirchner, Joan A.S. Lada, stage managers; A.K. Camper, Steve Lada, assistant stage managers and (Lada) combat choreographer;  Margaret Snow, wardrobe chief; Domenica Marchetti, language coach; Robin Maline, hair/wigs/makeup; Franklin Colemen, lighting; Donna Reynolds, property design; Charles Dragonette, set design and dressing; Jim Hutzler and Jeff Nesmeyer, set construction; Diedre (De) Nicholson-Lamb, set painting; Alan Wrap, sound; Art Snow, special effects coordinator; Beverley Benda, vocal coach, Russell M. Wyland, rigging.

LTA's Covid-19 Attendance Policy requires all persons to provide proof of full vaccination AND to wear a mask inside LTA (including during the performance).

What: Blue Stockings by Jessica Swale

When: Now through Mar. 19, 2022, Wednesdays through Saturdays, 8 p.m.  The Sunday 2 p.m. performance on Mar. 13 is sold out!

How much:  $21, weekdays; $24, weekends.

Where: The Little Theatre of Alexandria, 600 Wolfe Street, Alexandria, VA 22314.

Duration: About 2 hours with one 15-minute intermission.

For more information: Box Office: 703-683-0496; Business: 703-683-5778. Email: boxoffice@thelittletheatre.com or Asklta@thelittletheatre.com

Patricialesli@gmail.com

patricialesli@gmail.com

Picasso sells out at the Frist

The Frist Art Museum, Nashville/Photo by Patricia Leslie
Inside the galleries at the Frist/Photo by Patricia Leslie

The Barefoot Girl,  1895. La Coruna. Loaned by Musée national Picasso-Paris. 

Picasso was only 13 when he painted this amazing working-class girl which shows his empathy for the subject, according to the label.  It's among the first of many seated women he painted such as the one below he made 37 years later.  Someone said they were birds in a cage.  (Picasso's cage.) 

Reading Woman, 1932. Boisgeloup. Musée national Picasso-Paris. 

This is of Marie-Thérèse Walter, Picasso's lover at the time and featured below in The Sculptor.  Marie was only 17 and almost 30 years younger than Picasso who was married when they met.  A standard line:  "You have an interesting face.  I would love to do a portrait of you," (according to Frist lecturers, Terri Cohen and Peg Werts, who gave one of many fine online sessions the Frist offered at no charge.  Dr. Werts paraphrased Picasso:  "I paint people as I think them, not as I see them.")

Picasso featured Marie-Thérèse Walter in many works, and in 1935, their daughter, Maya, was born.  Four years after Picasso died, Marie committed suicide.

Portrait of Dora Maar, 1937. Paris. Musée national Picasso-Paris.

Picasso took up with Dora Maar in 1936 at the time of the outbreak of Spanish Civil War when he was still involved with Marie-Thérèse Walter and married to Olga Khokhlova. Ms. Maar, a photographer, was instrumental in Picasso's development of Guernica.* She challenged him intellectually, according to the Frist online talk given by Ms. Cohen and Ms. Werts.  

Picasso often pictured Ms. Maar crying, easy enough to understand after he shoved aside women when another, more desirable woman crossed his way, such as Francoise Gilot, a Picasso relationship which led to Ms. Maar's breakdown and reclusiveness.

She split with him in 1943, regained strength and began to paint. Right on, sister!

This work was featured on the cover of the booklet at the Frist show. 

At the exhibition, my son, William, asked me how Picasso was able to attract so many women:  "It was not looks!" I exclaimed. Women are attracted to fame, power, and money, all Picasso possessions, I told him, which explains why ugly men have beautiful wives. For a while, anyway.

Man with a Guitar, 1911-1913. Paris. Musée national Picasso-Paris

Can you find the man's moustache, the wall molding, and the rosette on the mandolin?  Good!  You may become an art historian!  The label said this "is characteristic of analytical cubism, which aimed to restore the three-dimensionality of a subject on a single surface by translating it into geometric facets." (?)  Translate that and you may become an author, too!

Both online sessions at the Frist which I attended featured this work.  Despite its connection to surrealism, the painter denied he was a surrealist.

Mother and Child, 1907, Paris. Musée national Picasso-Paris

The label said this rendering reflects the artist's fascination with Iberian, African, and Oceanian sculpture and was probably inspired by a Romanesque Virgin and Child Picasso would have seen in Gosol where he stayed in 1906.

Inside the galleries at the Frist, visitors watch a film of Picasso in motion/Photo by Patricia Leslie

Woman with a Ruffle, 1926. Juan-les-Pins. Musée national Picasso-Paris.

The Sculptor, 1931. Paris. Musée national Picasso-Paris.

The label noted the artist's early 1930s were marked by sculpture. Here a bearded man meditates at a statue of Picasso's lover at the time, Marie- Thérèse Walter. Mingling figures characterized much of  Picasso's 1920s output, which carried over into the next decade.

The Bathers, 1918. Biarritz. Musée national Picasso-Paris

Picasso painted this while honeymooning with the Russian ballerina, Olga Khokhlova, whom he had met the previous year and to whom he was married, despite many affairs, until she died in 1955, according to the online presentation at the Frist by Teri Cohen and Peg Werts.  (In an earlier online Frist talk, Amy Von Lintel and Leonard Folgarait also featured this work.)

The Bathers is modeled after Jean Auguste-Dominique Ingres' Turkish Bath.  Dr. Folgarait noted that although the figures are touching themselves, they look away from the viewer.

Head of a Bearded Man, 1938. Musée national Picasso-Paris.

Man with a Straw Hat and Ice Cream Cone, 1938. Mougins. Musée national Picasso-Paris.

Child with Doves, 1943.  Musée national Picasso-Paris.

Although labeled a "degenerate artist" by the Nazis, Picasso remained in Paris during the war years of Nazi occupation, 1940 to 1944 when he painted this large, malformed child holding a rattle, with two doves nearby, all enclosed in a somber setting, perhaps underground, perhaps inside a tomb.

Picasso, his art and his public, 1968. Mougins. Musée national Picasso-Paris.

Woman Reading, 1935, Paris. Musée national Picasso-Paris.

The Kiss, 1931. Musee national Picasso-Paris. Made in Paris, loaned by Paris, It must be a French kiss...oooohhhhh. The better to bite you, Madam.  This man resembles a cow and the mark of Zorro connects the two in the sheets. Note how the man's eyes are open; the woman's, closed.  Remember what I said about ugly men?  Who would want to see this monstrosity anyway and she is kissing him! Yeech!

In the Picasso galleries at the Frist/Photo by Patricia Leslie

Woman with a Baby Carriage, 1950, bronze. Musée national Picasso-Paris.

Picasso began recycling objects he found on the street long before collecting discarded objects for art became popular. 

Using abandoned objects he found in Vallauris, France where he was living, the sculptor combined them with a baby carriage, a frying pan, and plaster molds he made into the woman's arms and head/Photo by Patricia Leslie

Sunday, 1971. Mougins. Musée national Picasso-Paris.

Musician, 1972. Mougins. Musée national Picasso-Paris.

The Family, 1970, Mougins.  Musée national Picasso-Paris.

The label copy noted this was characteristic of the artist's "final period" with its "deceptively naive handling of the figures," suggesting the influences of the 17th century (?).

At the back of the Frist Art Museum/Photo by Patricia Leslie
 
If you missed Picasso Figures at the Frist Art Museum, here are many of the most intriguing works I found at the only venue for this exhibition in the U.S.

Several of these were featured by guest lecturers speaking at free online sessions hosted by the Frist whom I heard before I saw the show.

The 75 or so pieces on display included paintings, sculptures, works on paper, including a film of him at work, loaned to the Frist by the Musée national Picasso-Paris,  the beneficiary of donations by his family who battled each other for years over his estate.  He left no will but just about 45,000 works, not only his own, but paintings by other notable artists.

The Picasso-Paris claims to hold the largest collection of Picassos in the world.

The value of his estate today is estimated between $530 million and $1.3 billion.

Before Picasso Figures moved on to Quebec, the Frist extended it for a week, until Mother's Day. The timed-entry tickets quickly sold out.

It was a large presentation, spread over several galleries, almost encompassing the Frist's entire first floor of exhibition space. Although the number of viewers attending was enormous, there was plenty of elbow room in the large rooms, and overcrowding was never a problem.

(When I spy an empty space in front of any work at a popular show, I rush up to it, to have it all to myself, at least for a few seconds, until someone else joins me and enters my space. At least, I've "had it" all by myself for a few moments and eventually, I get to the most popular works where solitary looking is seldom experienced.)


I was lucky to be able to attend two of the museum's online sessions about the show, excellent in every respect. (Contract stipulations prohibited recordings of these events.) 

I wondered if Picasso's misogyny would be mentioned, and Terri Cohen and Peg Werts did not disappoint, especially in this time of "Me Too," Ms. Cohen said.  

"He was cruel and abusive to women throughout his life.  His behavior cannot be excused." She said some Frist members were unhappy the museum presented the show, and I wonder if his maltreatment of women played a role in other museums in the U.S. shunning the show, if they did. Was the fact that the show was only presented at one museum in the U.S. venue related to covid-19 or funding? 

What was the reason?

Can it be that after a while, the renderings became rather boring and repetitive? The crazy, disjointed, ugly figures? Maybe with the attention to women's rights and the increasing acceptance of us as equals, Picasso will fall from favor or perhaps the descent has already begun. One can hope!

When in Nashville, visit the Frist, housed on Broadway in the former home of Nashville's main U.S. Post Office building, an art deco gorgeous structure, with or without art on display.

*Guernica was not part of this show, Ms. Cohen and Ms. Werts said. Beginning in 1937,  it was kept on and off at the Museum of Modern Art for safekeeping, to tour the world before MOMA returned it reluctantly to Spain in 1981. 

It is one of the most recognizable pieces of art in the world. 

patricialesli@gmail.com
















Roboto

'Les Miz' singing leaves you miserables

Universal Pictures

Really.

It's atrocious.

Somewhat like Meryl Streep and Pierce Brosnan trying to sing in Mamma Mia, only much worse.

But this is an opera.

But not for opera fans. 

It's a Les Miz nut flick, as in, only the dedicated need bear arms and go.  What you see on stage should remain on stage.  The producers of Phantom of the Opera were able to bring that one off stage quite successfully.  Not this one.

At the movie house, there was so much outbound traffic in the lane (aisle) beside me, it was like the wall had been removed, and we were suddenly exposed to Lee Highway.  (Were moviegoers leaving for restroom breaks?  Popcorn?  But few made it back.)

Why do movie producers hire actors who can't sing?  Is this the fad du jour?  I don't understand.  There aren't any actors left who can belt out a tune?

Anne Hathaway (Fantine) and  Hugh Jackman (Jean Valjean) sang solos lasting about 30 minutes each with no other visuals but close-ups of their faces, and it was tiresome.  After about 30 seconds. It was like a talent show at the elementary school you are forced to attend to see your neighbor's youngest perform, but Amanda Sue would have been more entertaining.  But not to go overboard.

Speaking of...on a bridge over troubled waters (sorry), Russell Crowe (Javert) sang and walked for so long, the Seine almost dried up and the vultures came out. 

Not everything was lackluster.  Take the aerials, for instance.

And some of the voices were downright good, like Amanda Seyfried's (Cosette), Samatha Barks's (Eponine), and Eddie Redmayne's (Marius). And thank goodness for Sacha Baron Cohen and Helena Bonham Carter (M/M Thenardier) who provided much needed comic relief. 
 
Helena Bonham Carter and Sasha Baron Cohen are hilarious in Les Miserables/Universal Pictures


Folks, the new Angelika Theater in Merrifield is great, but at $13 a pop, the movie had better be great (or near great). Please, spare me any more musicals which should remain on stage and nothing more.  Thank you.

The Tennessee State Society on Capitol Hill

It was the Annual Congressional Reception in the Mansfield Room at the Capitol.

An elegant, tasteful room although not as large as the one where the 2007 event was celebrated. And a smaller crowd, and smaller number of Congressional representatives, too.

Last year most all of the Tennessee congressional representatives attended, including both U.S. Senators who are Republicans, Lamar Alexander and then, the newly elected Bob Corker, now tardy for failing to submit his annual financial disclosure statement due in May. (He got an extension since all his "ducks were not in a row.").

Marsha Blackburn (R-Middle, West, and Northern Tennessee (gerrymandering, you know) was also missing in action, likely working repair on her own financial woes, including trying to answer some of the 33 letters she has received from the Federal Election Commission about faulty reports of her campaign finances.

Last week Congressman John Duncan (R-Knoxville) and Congressman Jim Cooper (D-Nashville) were the only representatives who did show up, and both engagingly addressed those present (who numbered about 60). They spoke highly of each other and applauded the relationships among Tennessee congresspeople who actually get along (mostly) and work productively together, unlike some other states, they said, which they did not name.

John Duncan, a conservative, is admired and well respected by Democrats, too, for his sincerity and his always fierce opposition to the Iraq War, even when it was popular to support it six years ago.

Jim Cooper is a Blue Dog, but I shall not hold that against him. He well represents his constituency.

An important no-show! Steve Cohen (D-Memphis), the incoming honorary chair of the Society, replacing Congressman Duncan, the 2007 honorary chair. Perhaps Rep. Cohen was dealing with the Washington Post since it ran a big story the next day on him and his opponent, Nikki Tinker, whom Emily's List is supporting..

Attending: Mostly interns or intern alums.
Average Age: Under 30
Dress: Suits
Food: Some hors d'oeuvres, beer, wine
Caucasians: 97%
Cost: Membership in the Society is $20/year. A great value for several parties throughout the year, usually funded by lobbyists.

State Presents Jazz and "Appalachia" at National Geographic

Lorin Cohen, the bassist, is obscured by Geof Bradfield, the saxophonist


By The Queen of Free

Only the State Department would pick a group from Brooklyn, New York to play music from Appalachia on a world tour.

True, the Appalachian Mountains string (!) from the Mississippi to Canada, but come on now: Does New York come to mind when you hear "Appalachia"? Mine, neither. The folks down South play fiddle and bluegrass a whole heckuva lot better than what we heard at the Grosvenor Auditorium Thursday night.

The Hoppin' John String Band was one of two groups who performed at the National Geographic auditorium at 1600 M Street, courtesy of State which hires musicians to perform for us all over the world trying to win friends and influence enemies as part of its "Rhythm Road: American Music Abroad" program.

First up was the dynamic, impressive Ryan Cohan Jazz Quartet from Chicago who started off the evening with Thelonius Monk's "Around Midnight." They played Victor Feldman's "Joshua," but the most memorable, haunting selections were composed by Ryan Cohan, the pianist. Geof Bradfield played saxophone, Lorin Cohen, bass; and Kobie Watkins, drums and percussion.

The group answered questions from the audience afterwards causing Hoppin' John to start 30 minutes late, or maybe Hoppin' John was late and Ryan Cohan was filling time. No one directing the program seemed to be in much of a hurry.

The auditorium was about 75% full with listeners ranging in age from low 20s to senior citizens.

The Hoppin' John musicians (Alicia Jo Rabins, Sarah Alden, Sean Condron, and Taylor Bergren-Chrisman)were good, but as vocalists? No. No authentic mountain music was heard. None of the vocalists showed much depth or style. They lacked that special somethin'.The program stated the band "performs and teaches music deeply rooted in the ballads, fiddle tunes and traditions of the Appalachian Mountains." They ain't hill people! (But maybe the Hill People think they are.)

I hope listeners knew it was not bluegrass like you hear in the South. But if you've never heard bluegrass in the South (the State Department?), how would you know? I missed the mountain twang and sound that Nashville residents hear every day listening to musicians play on the sidewalk hoping to "break in."

Perhaps there is a State Department-New York connection (Jazz at Lincoln Center). Perhaps the State Department in its showcase to the world needs to venture outside the confines of the Beltway and New York City, and head in a different direction for variety and diversity. Like maybe the hills of Tennessee or Kentucky or West Virginia.

Vienna's hilarious open and shut show

From left, Bob Cohen, Janice Zucker, Bruce Alan Rauscher and Dave Wright in Vienna Theatre Company's Unnecessary Farce at the Vienna Community Center/By Matthew Randall

It’s a bedroom romp-o-rama!

For a laugh-a-minute good time, head for the motel rooms, see the action, and watch the jamboree unfold in a dive of a place where the crazies jump and hide and keep you in suspended animation wondering who's gone where.

And, what's next?

It's delightful, it's delirious, and very funny by the name of Unnecessary Farce now onstage at Vienna Theatre Company where the cops, the lovers, an accountant and, of course! the politicians and a sneaky criminal chase one another from room to hall to room and back again, in and out of beds hoping to catch the criminal(s) in the act. (Which act?)

They run and hide behind eight doors, reminding me of a commercial break at a Capitals' hockey game to "find the puck." (Huh?)  It's easy to get lost in this swingathon.

From left, Liz Owerbach, Dave Wright, Bruce Alan Rauscher and Kate Bierly in Vienna Theatre Company's Unnecessary Farce at the Vienna Community Center/By Matthew Randall

Eddie Page makes his directorial debut at the Vienna theatre, drawing on these actors' strengths and passions (!) to flatten the possibility of any weak-willed characters in the adult comedy.  (There are none.) 

Take the Scotsman (Bob Cohen) who speaks gibberish. Was it just me who couldn't understand him?  

But, no, those on stage couldn't interpret his remarks either except for Vienna debut actor, Kate Bierly, as a policewoman who repeats in rapidfire order the Scotsman's words, winning applause in the middle of a scene for her incredible memory and performance. 

Theatre favorite Bruce Alan Rauscher is another cop, quite effective at stuttering and repeating words as he tries to find his pants.  (His pants?)

Liz Owerbach is the "hot, very hot" (!) animated accountant, Karen, who almost manages to snag a two-for-one deal, caught by video in suspicious circumstances with another officer (Dave Wright) who rolls in and out like the rest of 'em.

Not to overlook the mild and bumbling, appropriately named mayor of the unnamed town near D.C., Mayor Meekly (Steve Rosenthal) and his lovely wife (Janice Zucker), the mayor enjoying some of the benefits of the romps he observes and interrupts.

Producer Laura Fargotstein helps to ensure the show rocks all night long.  

At the end, you may think you are bouncing on a bed, but for sure, you'll be chuckling, happy you spent a good time in the old town tonight.

Other members of the production team are:

Larry Grey, stage manager; Susie Poole, assistant stage manager; Ari McSherry, lighting; Adam Parker, sound; Helen Bard-Sobola and Charles Dragonette, properties and Dragonette, set decoration; Michelle Harris, costumes; John Downing, set; Robin Maline, hair and makeup; Mark Adams, dialects; Michael Page, fight and intimacy choreographer; Art Snow, special effects; De Nicholson Lam and Beverly Benda; set painting.

What: Unnecessary Farce by Paul Slade Smith

When: Friday and Saturday nights at 8 p.m. through May 6, 2023 with Sunday matinees at 2 p.m., April 30 and May 7, 2023. The May 7 show will be sign-interpreted with reserve seating in the front row. Email lily.widman@viennava.gov or call 703-255-5738 for reserved seats.

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

Tickets: Buy in advance at www.viennava.gov/webtrac, or in person at the Vienna Community Center or at the door, if available, $15.  

Language: "X" 

Audience: For mature teens and adults

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

For more information, please call: (703) 255-6360

patricialesli@gmail.com

 

Olney's 'Crucible' is unforgettable

Olney Theatre Center presents Arthur Miller's The Crucible now through May 20, 2018.

A theater classic, The Crucible, is a play to see before you die, or to see again, especially during this trial of national turmoil, and I'm glad to find Web lists agree with me on its importance.

Mia Rilette (Betty Parris), Guadalupe Campos (Mercy Lewis), Dani Stoller (Abigail Williams), and Yakima Rich (Susanna Walcott) in The Crucible at Olney Theatre Center (Photo: Stan Barouh)

The show, the Tony Award winner for Best Play of 1953, is presented at the Olney Theatre Center for the first time and chosen, the artistic directors told me, in the aftermath of the 2016 presidential election.  

When a recent poll says the majority of Republicans believe the press is the enemy of the American people (quoting Donald Trump), it's time to sit up and take notice that the freedoms we value are under attack, like they were when Joseph McCarthy attacked persons he deemed suspicious, two who were executed.

Scott Parkinson as Reverend John Hale and the girls of Salem. (Photo: Stan Barouh)
   
Arthur Miller (1915-2005), the Crucible writer and usually considered one of the world's greatest playwrights, places a mid-1950s American tragedy in the context of an earlier crime, the Salem, Massachusetts witch trials of 1692 and 1693 when 20 were executed, their deaths stemming from hysterical young girls.

In his metaphor, Mr. Miller skillfully weaves the girls' frenzy as substitutes for those which gripped the nation during the McCarthy years of the 1950s and the "Red Scare." After The Crucible debuted and largely because of it, Mr. Miller was called before the House Un-American Activities Committee to testify. Various organizations banned and boycotted his plays.

 Shpend Xani (Judge Hathorne), Dylan Fleming (John Willard), Dani Stoller (Abigail Williams), Chris Genebach (John Proctor), Jonathan Atkinson (Ezekiel Cheever), and Miranda Rizzolo (Mary Warren) in The Crucible at Olney Theatre Center (Photo: Stan Barouh)

He began working on his play the day he heard his good friend and director, Elia Kazan, at HUAC name actors and playwrights, including Miller, who Kazan thought had ties to leftist causes. (Read a fascinating account of their relationship and their back-and-forth productions here.)

Although Mr. Miller claimed that all his characters in The Crucible were actual persons from Salem, he blended some of their personalities and changed ages for others to better accommodate his script which took him about a year to write, according to a 1996 article for the New Yorker.

Scott Parkinson (Reverend John Hale) and Lilian Oben (Tituba) in The Crucible at Olney Theatre Center (Photo: Stan Barouh)

Olney's director Eleanor Holdridge deserves credit for the strong, persuasive performances she draws from the 19-member cast, notably, Dani Stoller as Abigail Williams, Chris Genebach (John Proctor), Scott Parkinson (Rev. John Hale), Rachel Zampelli (Elizabeth Proctor), and Paul Morella (Deputy Governor Danforth), the latter deserving special recognition for his realistic portrayal of a despised person who quickly conjures up hate from the audience.
 
To introduce the show and set the tone, scenic designer Andrew R. Cohen crafted angled pieces of wood to hang mid-air in stark fashion to greet theatergoers. Minimalist visuals throughout the performance permit the dialogue to dominate, as it should, including the second act when
ugly, low-hanging fluorescents give the stage a prison-like environment and grilling room, as the accused hear and argue their sentencing.

Applause to the graphic designer for the excellent logo for the play and to the choreographer, Kelly Crandall d'Amboise, whose dancing girls and antics never miss a beat in original composition, and none from director's notes, artistic directors Jason Loewith and Jason King Jones told me.

Excellent period costuming by Sarah Cubbage, effective lighting by Nancy Schertler, and original music by Patrick Calhoun all contribute to the success.
  
Other Crucible cast members are Jonathan Atkinson, Guadalupe Campos, Brigid Cleary, Dylan Fleming, Jessica Lefkow, Craig MacDonald, Bolton Marsh, Lilian Oben, Yakima Rich, Caroline Rilette, Mia Rilette, Miranda Rizzolo, Michael Russotto, and Shpend Xani.

Dori Beau Seigneur was wig and hair consultant, and John Keith Hall, production stage manager.

Today in Africa, "witch camps" exist, used to rid communities of older women who practice "witchcraft," reminding me of similar places in our own United States, like the Weston State Hospital in Weston, West Virginia, now called the Trans-Alleghany Lunatic Asylum, a convenient place for men to dump the wives and "witches" they wanted to expel from their lives. The hospital closed in 1994, but you may tour it now (highly recommended).

Wikipedia defines crucible as "a severe test or trial; alternately, a container in which metals or other substances are subjected to high temperatures."

There was a whole lot of shoutin' goin' on.

What: The Crucible by Arthur Miller

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

When: Now through May 20, 2018, Wednesday through Saturdays at 8 p.m., weekend matinees at 2 p.m., a 2 p.m. matinee Wednesday, May 9, and a sign-interpreted performance on Thursday, May 10, at 8:00 p.m.

Tickets: Begin at $47 with discounts for groups, seniors, military, and students.

Ages: Recommended for ages 13+ due to mature themes, extreme emotions, actions, and political allegories.

Duration: 2 hours and 45 minutes (which flies by) and one intermission

Refreshments: Available and may be taken to seats

Parking: Free and plentiful on-site

Post-show discussions: After matinees on May 12 and 19

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

patricialesli@gmail.com

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