A Halloween treat at Alexandria's 'Wait until Dark'

 

Brendan Chaney (Carlino) and Mel Gumina (Susy) in Wait Until Dark at The Little Theatre of Alexandria//Photo by Matthew Randall

In Susy's world, it's always dark. Susy is blind.

Mel Gumina's portrayal of a blind woman sucked up in a web of crime in Wait Until Dark at the Little Theatre of Alexander is so believable that it wasn't until the end of the show when the cast came out on stage to receive applause that I knew for certain she was not handicapped.

Just call me sucked in by her performance!

For those who have a vague recollection of Audrey Hepburn in the 1967 movie classic of the same name, Ms. Gumina's performance is spot on.

At LTA Susy stumbles from overturned chair to table and back again trying to outwit three con men who have tracked a drug-filled doll to her apartment and have come calling for the goods.

Mel Gumina (Susy) and Julia Stimson (Gloria) in Wait Until Dark at The Little Theatre of Alexandria/Photo by Matthew Randall

The bad guys are able to hoodwink Susy and play coy, but her acute hearing, aided by the ploys of a young teen neighbor, Gloria (who knows a thing or two about dolls) upset the drug dealers. Their game culminates in what seems like an interminable finale (and one labeled by Bravo as one of the 100 Scariest Movie Moments).

Gloria is played alternately by Juliet Strom and Julia Stimson whose soft voice and fastspeak were hard at times to understand. Although little in size compared to the adults, she stands tall against the pack, full of confidence and fearless against the evildoers.

With his heft, Yankee accent, and mannerisms reminiscent of Joe Pesci, Brendan Chaney, one of the bad guys, convincingly brings his nefarious ways to the stage.

Outstanding sound (by Janice Rivera) and a detailed set (Julie Fischer) combine to immediately engage the audience from the get-go.

And when it comes to windows, nobody beats LTA's. In this show, two of them are built high on a wall to let in the lamp lights from the street and more. Gloria will show 'em.

Before the show starts, 1960s music sets the tempo, but appliances say it's the 1940s which may be only a reflection of what Susy and her husband (Ryan Washington) can afford.

The females wear current fashion while costumers Jean Schlichting and Kit Sibley dress the males in coats and ties to belie their occupations and appear in total contrast to today's criminals who dress like everyone else. (Seconds and thirds are all right!)

Director Heather Benjamin guides the cast in fast action in this Greenwich Village romp.

Lee Remick was nominated for a Tony Award for Best Actress when she was Susy on Broadway and Robert Duvall played one of the con men. Others who acted in later productions were Marisa Tomei and Quentin Tarantino, but the show is best remembered as the movie which earned Ms. Hepburn an Oscar nomination.

Frederick Knott's play was such a compelling story in 1966, the movie rights were immediately sold to become one of the American Film Institute's 100 most exciting movies, says Wikipedia.

Other LTA cast members are Brendan Quinn and Adam R. Adkins as more bad guys; Bill Gery and Michael Townsend, policemen.

More members of the creative team are Michael J. Fisher, assistant director; Alicia Goodman and Margaret "MEJ" Evans-Joyce, producers; Nick Friedlander and Lauren Markovich, stage managers; Stefan Sittig, fight and intimacy choreographer; Mona Wargo, set painting; Allison Gray-Mendes, set dressing and properties; JK Lighting Design; Margaret Snow, wardrobe; Chanel Lancaster, makeup and hair. 

What: Wait Until Dark

When: Now through November 6, 2021, Wednesdays through Saturdays, 8 p.m.; Sunday, 3 p.m.

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

Tickets: $21, weekdays; $24, weekends.

Duration: About 2 hours with one 10 minute intermission.

Adult language: None, but there is some cigarette smoking.

Masks and vaccine cards or proof of a negative covid test within 72 hours of show time are required. No exceptions.

Public transportation: Check the Metro and Dash bus websites. (Dash is now free to ride and several routes come within steps of LTA.)

Parking: On the streets and in many garages nearby with free parking during performances at Capital One Bank at Wilkes and Washington streets.

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


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Gen. Colin Powell at the Kennedy Center last month

General Colin Powell at the Kennedy Center, Sept. 10, 2021/Photo by Patricia Leslie

General Colin Powell at the Kennedy Center, Sept. 10, 2021/Photo by Patricia Leslie

He was one of the special guests who welcomed the "sold-out" audience to the Kennedy Center in a concert to honor first responders of the September 11 and covid tragedies, the victims and their families. 

If General Powell were sick or ailing then, he covered his illness well. He paid respects to the evening's honorees and  spoke briefly about his upbringing in the Bronx, saying his greatest thrill was having 13 American elementary schools named after him.  That number will most assuredly grow.  

Thank you, General Powell, for your service to the United States and for your stable control and guidance during periods of national tragedy.  

Who can match him now?

See more of the September 10 evening here.

General Colin Powell at the Kennedy Center, Sept. 10, 2021/Photo by Patricia Leslie

The National Symphony Orchestra and "The President's Own" U.S. Marine Band performed at the Kennedy Center, Sept. 10, 2021/Photo by Patricia Leslie

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GALA's 'Rosita' tarries

Mabel del Pozo is Rosita in GALA Theatre's  Doña Rosita la soltera (Dona Rosita the Spinster)/Photo by Daniel Martinez

The word "spinster" is not heard or read much these days; nor, for that matter, is "bachelor," but to be a "spinster" in
yesteryear (a half century ago and more) was not a good thing.

Today?  

Who cares? 

From left: Luz Nicolas is the Aunt and Mabel del Pozo is Rosita in GALA Theatre's  Doña Rosita la soltera (Dona Rosita the Spinster)/Photo by Daniel Martinez

Weary am I of the sad souls on screen and stage whom I've encountered in the last week.

There was Orson Welles as Charles Foster Kane celebrating the 80th anniversary of the "best all-time ever" film, Citizen Kane; there was Jessica Chastain as Tammy Faye Bakker in a new release about Tammy Faye's Eyes (Jessica Chastain is a shoo-in for Best Actress nominee!) and here comes Doña Rosita, a woman left behind by a man in the age-old story of a woman in plight (when she should be in flight) and she waits.

And waits. On the stage of  GALA Hispanic Theatre.

I can't recall any performance where I was as eager to read a script as I was to read Doña Rosita la soltera, a running poem by Federico García Lorca (1898-1936), his last play before he died at the hands of  Francisco Franco's thugs in Spain, García Lorca's remains still undiscovered.

Nando López , a Spanish novelist and playwright

who won the 2016 Helen Hayes Award for Outstanding Play for Lorca's Yerma, has written the world premiere adaptation of Doña Rosita. 

Subtitled The Language of the Flowers, the wonders of Rosita's uncle's garden help flesh out the story.

Doña Rosita (Mabel del Pozo) resides with her uncle (Ariel Texido, in one of several confusing roles) and her domineering aunt (Luz Nicolas).  

With the servant (Laura Aleman), the aunt upstages the pseudo- protagonist Rosita whenever the three women are together, the servant more of a sister than a housekeeper, commanding every scene shared with Rosita who accepts a minor role. 

Rosita becomes a ghost in the background, a nobody (like Emily Dickinson): 

I'm Nobody! Who are you? 

 

Are you – Nobody – too? 

Rosita, kind and gentle, fades like the flowers and her dull apparel (by Silvia de Marta).

Like their namesake, Rosita, the flowers bloom, they mature, they wilt, and die, constant reminders about life's brevity. In their bliss, they wave and speak their glories, like García Lorca's poems in the script. 

Says Rosita: 

The rose it had opened

with the light of morning;

so red with its hot blushes

the dew had burnt away;

so hot there on its stem that

the breeze itself was burning;

so high there! How it glowed!

If you haven't grasped by now, Doña Rosita la soltera (Dona Rosita the Spinster) is not an uplifting play. García Lorca frequently wrote about women who suffer the pangs of unrequited love and his setting here at the turn of the 19th century confines Rosita to a meandering self-doubter who questions her being.

She waits years for her fiancé who promises he'll return.

She believes him.  (Silly girl!) 

The script captures the descent of a hopeful bride-to-be, and life slips away.  She is a "reservation on hold."

"Act!" I wanted to cry out:  "Do not tarry!"

Gather ye rosebuds while ye may,
Old Time is still a-flying;
And this same flower that smiles today
Tomorrow will be dying.

The glorious lamp of heaven, the sun,
The higher he's a-getting,
The sooner will his race be run,
And nearer he's to setting.

That age is best which is the first,
When youth and blood are warmer;
But being spent, the worse, and worst
Times still succeed the former.

Then be not coy, but use your time,
And while ye may, go marry;
For having lost but once your prime,

You may forever tarry

 (Robert Herrick [1591-1674] To the Virgins, to Make Much of Time)

 The housekeeper's cocky personality wants to:

Let the sun shine in the corners! Let us hope for many years of cutting roses!   

 
Says Rosita: 

There is nothing more living than a memory. They can make life impossible. That is why I have a profound understanding of those old drunken women who wander through the streets trying to erase the world, who sit and sing on the benches in the avenue.

The words drift and float, weaving their sad spells in melancholy which engulf Dona Rosita, aimless, coasting through life, accompanied by a humble but magnificent musical background (by David Peralto and Alberto Granados) which increases its intensity at just the right times before it slowly settles into absence.

This is a poetic feast, spoken in Spanish with English translations elevated on two screens stage left and right. (For non-speaking Spanish guests, may I suggest a seat higher up to be able to read English translations and catch most of the stage action.)

Lighting and sound (by Jesús Díaz Cortés) never miss an entrance or a beat.

A roving table is a critical prop, the centerpiece of most scenes. The actors wheel it from place to place, covering it, uncovering it as it transitions to a chair, a desk, a bed, a piano, a nun's habit, even a table, and more, a metaphor for Rosita!

 Society's pressures!

All is not lost on modern audiences, however, since it takes only a few moments to realize that juxtaposed against then and now, Doña Rosita gives heft to present-day women and our confidences that we won't wait for any man...will we?

 Dear Rosita: Time waits for no woman.

Mother, take me to the country

in the light of morning

to see the flowers open

on their swaying stems.

A thousand flowers are speaking

to a thousand lovers,

and the stream is murmuring

now the nightingale has ceased.

Cast members also include Catherine Nunez and Delbis Cardona.

Other production staff members are the director, José  Luis Arellano, who also won the 2016 Helen Hayes Award for Outstanding Direction of Yerma; costume and set assistant, George-Edward Burgtorf;  stage manager, Ilyana Rose-Dávila;  technical director, Devin Mahoney, and production manager, Tony Koehler.

What: Doña Rosita la soltera (Dona Rosita the Spinster)

Masks: Masks and proof of vaccination or recent negative COVID test required for all public performances. Temperatures taken at the entrance.

When: Now through Oct. 3, 2021, Wednesdays through Saturdays at 8 p.m., Sundays at 2 p.m.

Where: GALA Theatre, 3333 14th St NW, Washington, DC 20010.

Tickets: $48; $35 for seniors (65+), military, and students; $35, group sales (10 or more); $25 ages 25 and under. To purchase, call (202) 234-7174 or visit www.galatheatre.org.

Handicapped accessible

Duration: About two hours with one intermission

Metro stations: Columbia Heights or McPherson Square. From McPherson Square, take a bus up 14th, or walk two miles and save money and expend calories! Lots of places to eat along the way.

Parking: Discounted at the Giant around the corner and additional parking at Target ($1.50/hour), both on Park Road, NW. 

For more information: Call (202) 234-7174 and/or email info@galatheatre.org


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A 'concert of remembrance' at the Kennedy Center

 

At the Kennedy Center, the conductor of "The President's Own" U.S. Marine Band  led the Star Spangled Banner/Photo by Patricia Leslie

 

It's hard to know where to start since there were so many outstanding pieces at the Concert of Remembrance Friday night at the Kennedy Center, but any program with Aaron Copland's Fanfare for the Common Man is a certain draw.  That performance by the National Symphony Orchestra under the tutelage of Maestro Gianandrea Noseda stood no chance of anything but "marvelous," "magnificent," "outstanding," and more since that is what the night brought in remembrance of September 11, its heroes and those of covid and all the victims of whom Dr. Francis Collins of the National Institutes of Health (which he called the "National Institutes of Hope") reminded us.

"The President's Own" U.S. Marine Band joined the NSO to open the evening with a thunderous Star Spangled Banner.

The conductor of "The President's Own" U.S. Marine Band also led America, the Beautiful at the Kennedy Center/Photo by Patricia Leslie

General Colin Powell at the Kennedy Center's Concert of Remembrance said  having 13 elementary and middle schools named after him gives him immense pleasure/Photo by Patricia Leslie

Dr. Francis Collins from the National Institutes of Health paid tribute to the heroes and victims of September 11 and covid. The Kennedy Center chairman David Rubenstein introduced Dr. Collins and said the doctor has a rock band, The Affordable Rock 'n' Roll Act/Photo by Patricia Leslie

James Lee III who composed the stunning An Engraved American Mourning which premiered Friday, left the stage at the Kennedy Center before I could take a picture of him from the front. On the right is Maestro Gianandrea Noseda who introduced Mr. Lee/Photo by Patricia Leslie

Mezzo-soprano Isabel Leonard is congratulated by Maestro Gianandrea Noseda/Photo by Patricia Leslie

Mezzo-soprano Isabel Leonard is congratulated by Maestro Gianandrea Noseda/Photo by Patricia Leslie

The National Symphony Orchestra gets ready to play the Concert of Remembrance at the Kennedy Center/Photo by Patricia Leslie

Concertgoers wait for tickets in the Hall of Nations at the Kennedy Center/Photo by Patricia Leslie

In celebration of its 50th anniversary, the Kennedy Center has hung historic programs and playbills in the shape of a big "50" from the ceilings of its Hall of Nations and Hall of States/Photo by Patricia Leslie

The mezzo-soprano, Isabel Leonard and the NSO mesmerized the house with four Leonard Bernstein selections, my favorite, Take Care of This House, from 1600 Pennsylvania Avenue*, a production of which I was unaware, but the lyrics were entrancing, taking me back to last year and the sad preceding times since 2016 when "this house" was occupied by a recalcitrant.

Although I can't take West Side Story in any shape, form, or fashion anymore (too overdone), Ms. Leonard's rendition of Somewhere struck a chord in my cold heart, causing me to wonder for a few seconds about my objection. Still, I can hear Ms. Leonard. 

Other Bernstein selections were Greeting and Lonely Town.

You had to wonder who was in charge of the evening's program since some choices didn't seem to promote the night's message, likely because I was unfamiliar with Mother and Child by William Grant Still, sweet dullness that it was.

In addition to Copland and This House, my top three included James Lee III's NSO-commissioned An Engraved American Mourning which premiered Friday. Stunning in its absolute accurate portrayal of the wrenching emotions we endured that terrible day beginning with sad horns, the tension and bombastic percussion clashes, strong participation by the xylophonist followed by "sirens" and bells, to close with a harpist's strings on a rainbow of hope on a clear sky.  

The evening featured more bells, at least double the number  of any performance I have attended. It was the time.

Both orchestras joined to splendidly present This Land, God of Our Fathers, and America, the Beautiful to send us out on a high note in search of national unity. (Once Irving Berlin's God Bless America sufficiently separates itself from Kate Smith, or the PC tide rolls differently, that song may rejoin the retinue of national hymns.) 

Also on the program was a poem, Dispatches from Radar Hill by Angela Trudell Vasquez, read by Shirley Riggsbee.

* It's no wonder the title is unfamiliar: According to  Wikipedia, its reputation is chiefly as "a legendary Broadway flop." It lasted only seven shows, and sadly, was Leonard Bernstein's last Broadway score. It played briefly at the Kennedy Center in 1992.  

Take care of this house

 be always on call,

 for this house is the home of us all.

patricialesli@gmail.com

Movie review: 'Lost Leonardo,' highly recommended

Is it or is it not The Lost Leonardo?/Sony Pictures Classics

That The Lost Leonardo received a 100% audience rating at Rotten Tomatoes (and 95% by the critics) on the day I looked at RT tells you it's got to be good, right? * 

It is. Good.

From The Lost Leonardo/Sony Pictures Classics

It's a documentary, sure; my favorite kind, laid out in chronological style beginning with the discovery in a New Orleans art house of the so-called Salvator Mundi by Leonardo da Vinci and following its trail to the present owner who is...?

And where is it now?

On a boat, you say?

Before the Lost (the Last?) sold at a public auction at Christie's in 2017 for the most ever paid for a painting ($450.3 million), it was part of a Leonardo exhibition in 2011-12 at London's National Gallery, yet was pulled at the last moment from a Louvre showing in 2019 when, according to rumors, the present owner demanded it be placed adjacent to the Mona Lisa. Also, a Louvre publication about Salvator was removed from its shops and publication, denied.

Huh? What's up?

Find out at the show!

Andreas Koefoed, the director, performs a marvelous feat, bringing it all home in this balanced portrayal. How he and the producers coaxed the consultants, the "experts," the critics, the sleuths, the government officials and more to settle for his camera is a story in itself, but he did, and they are all happy to share their opinions.

Their names and identifications (titles) are listed in the bottom left corner of the screen, an indispensable aid for those of us who do not circulate in their worlds and must profess ignorance of most of them.

Who had an ax to grind?

Is it an original da Vinci?

I must admit I was skeptical going in...and coming away, I was skeptical. But, how about you?

For art lovers, the curious, curators, critics, collectors, dealers, lenders, tycoons, art historians, artists, "sleeper hunters" (?), this is a fast film you cannot miss!

That a world-known criminal is involved is revolting and maybe, that's what his subjects will do...one of these day.

Mr. Koefoed co-wrote the story with Duska Zagorac, Andreas Dalsgaard, Mark Monroe, and Christian Kirk Muff. Hats off to you!  Music by Sveinung Nygaard is excellent.

For more reading, Wikipedia has a lengthy accounting of the painting's provenance.

*Now, the audience gives it 93% and the critics, 95%.


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Come with me to the fair...

The Montgomery County Fair/Photo by Patricia Leslie

Well, maybe next year since the Montgomery County Agricultural Fair has already up and left the premises, but fun it was, and deee-lish!  There's always "next year"!  

A very tall fairy princess in the parade greeted guests at the Montgomery County Fair/Photo by Patricia Leslie

The Gaithersburg High School Trojan Marching Band paraded by in the Montgomery County Fair Parade/Photo by Patricia Leslie

The Gaithersburg High School Band parading at the Montgomery County Fair/Photo by Patricia Leslie

Can you imagine riding a float and hugging a live goat at the same time?  In a parade?  It happened at the Montgomery County Fair/Photo by Patricia Leslie

These little fellows were "meat goats" which means that, maybe, ....yep.  They marched in the Montgomery County Fair Parade. Maybe, their last walk on the plank before, you know, ..../Photo by Patricia Leslie

This little piggie went to market, this little piggie stayed home, this little piggie ate roast beef, the little piggie had none, and this little piggie rode a truck at the Montgomery County Fair, however, live animals did not accompany humans on this float in the parade/Photo by Patricia Leslie

How would you like to be born under the eyes of total strangers?  It happens often at the Montgomery County Fair when "Lit'l Shiester" was only three hours old when she was pictured here.  What a generous little calf and mom to be so tolerant of the curious!/Photo by Patricia Leslie

Mama and three-hour-old baby got no privacy at the Montgomery County Fair/Photo by Patricia Leslie

"Lit'l Shiester" with her mom at the Montgomery County Fair/Photo by Patricia Leslie

These little piggies seem to be luxuriating in each other at the Montgomery County Fair/Photo by Patricia Leslie

And for these  B I G  piggies, it was time for some shut-eye at the Montgomery County Fair/Photo by Patricia Leslie

It was the Montgomery County Agricultural Fair with lots of fun, lots to see, and whole lotta to eat!   

There were piglets and pigs and cows and calves and maybe, 6,000 kinds of rabbits.  (You could buy one rabbit for about $80 and some rabbits had pedigrees!  Rabbits?  Pedigrees? You've seen one rabbit, you've seen them all!)

Time to moo (can't resist) on to the cows and cows and  more cows which were about as numerous as the rabbits, but not so much.  (Sorry, rabbits and rabbit lovers.) 

How would you like a group of strangers watching your birth?  

It must be a medical school training lab!  Nope, it was at the fair where poor "Lit'l Shiester" and her mom had to endure a crowd watching her enter the world.  Take a gander of that!  And humans think they've got it rough when they deliver a ten-pounder.    R i g h t t t t t t .... Lit'l Shiester weighed a whole lot more than ten pounds!

With animals galore, there was alcohol, too (in tents), and whatever you do, never forget the funnel cakes and fried oreos which were plum delish (6 for $8)!  I don't even like oreos but these I had to try and they were wonderful, to melt in my mouth, all that gooey chocolate surrounded by empty air puffs of sugary dough.  I am still flying high from eating them many days ago.

Tickets to the rides were $1.50 multiplied by about 4 ($6) which is about the average cost except for the really big ones which go for more.  The swings were, actually, kind of boring but the pirate's boat was scarier than it looked, so much so that Marie cried to get off, but there was no stopping us when we got up real high, and she just had to cry and bear it. 

Admission - It varied. Next year the price will be different. 

Parking was free at Lakeforest Mall and free school bus shuttles at the mall had wheels to the fairgrounds. No waiting! Plenty of buses; plenty of room. Highly organized.

Restrooms - with attendants and fairly clean (for a fair!).

Come one!  Come all (next year)!  To the greatest DMV fair before fall!  (I had to make it rhyme.)

patricialesli@gmail.com
 

Book review: 'The Assassination of Trotsky'

A Diego Rivera mural depicts Trotsky with Karl Marx and Friedrich Engels, "true champions of the workers' struggle." Part of the Rivera mural El hombre en cruce de caminos, 1934, in the Bellas Artes building, Mexico City/Joe Photo, Boston, Wikimedia

Without emotion or attitude, Nicholas Mosley gives a "blow-by-blow" account of the murder of Leon Trotsky (1879-1940), between the time of the first assassination attempt on his life on May 24, 1940, and the last, successful one when he died the day after being stabbed by an ice pick*, August 20, 1940.

Regrettably, Mr. Mosley's documentation is omitted, save for the short bibliography at the end with six titles listed. The best insight into the person is  Trotsky's autobiography and his writings, Mr. Mosley says.

Leon Trotsky House where he was stabbed and where he lived from April, 1939 - August, 1940 Mexico City/Photo by Rod Waddington, Kergunyah, Australia, Wikimedia Commons

Mr. Trotsky left "works of some genius"; he was "a man with a marvelous literary eye and style," Mr. Mosley writes. 

I ran across the book title in the Wall Street Journal's column by Peter Stothard of the "Five Best [Books] on Political Vengeance," and per usual, the best library, the Fairfax County Library, got it for me on interlibrary loan.

The book is short (184 pages) and a fast read, written in 1972 in the "encyclopedic" style when Trotsky's grandson, Seva, was still living in the house. 

The first attempt on Trotsky's life saw about 20 assassins invade his home and shoot up the house (bullet holes, extant). Trotsky, his wife, Natalie Sedova, and Seva, miraculously survived without severe injury (Seva was shot in the foot while hiding under his bed) causing the chief of Mexico's secret police to question whether the attempt was fake and even happened.

Later that summer, bodyguards surrounding the house were lulled by the familiarity of a Trotsky acquaintance, a secret Stalinist, who arrived at the house on August 20 to discuss "a document" with "the old man" but stabbed him instead.

The murderer had several names and backgrounds: Jacques Mornard, Frank Jacson, Ramon Mercader. At the time, Mexico had no death penalty, and he was sentenced to 19.5 years for premeditated murder and six months for illegal possession of arms. 

Later, his parole request was rejected because the killer was considered "socially dangerous," and the courts decided it was hard to grant parole to a person "if no one knew officially who he was." 

Trotsky lived until the next day when he died at a hospital. When it lay in state, an estimated 300,000 filed past his body. 

Lenin had ostensibly "appointed" Trotsky his successor of the Soviet Union. Stalin was "rude" and unpolished, rough like the countryside, his origin.

Chasing Trotsky, his greatest rival, throughout Europe, Stalin delayed Trotsky's execution for years to avoid public fallout. After all, it was good public relations to keep him alive and have a scapegoat; Stalin could blame him for everything: the wheat crop failure, the pig swine fever, railway problems, factory destructions, even "nails in butter"!  

Trotsky knew he was a targeted man.

Trotsky and his wife, Natalia Sedova, arrive in Mexico, January, 1937, with Frida Kahlo behind them/Photo by unknown author, Wikimedia Commons

Eventually, after their itinerant European residencies, Trotsky and his wife found their way to Mexico in 1937 and the home of Frida Kahlo and Diego Rivera, the latter who claimed credit for getting them admitted to the country. (After Trotsky's death, Rivera, man of honor that he was, said he was working for Stalin to lure Trotsky to his death site.) 

The Trotskys lived with the artists for about two years until, several stories go, Rivera flirted with Trotsky's wife (and vice-versa) which, combined with political disagreements, ended the happy arrangement.

American supporters helped raise money for Trotsky's last residence which became the scene of the murder.

Leon Trotsky's grave in Coyoacan, Mexico City/Photo, Wikimedia

His ashes and those of his wife, who died in 1962, are entombed at the Coyoacán house, open now as a museum.

The Trotsky home is definitely on my "must see" places whenever I get to Mexico City. 

*It is on view at Washington's International Spy Museum.  The weapon was missing for several decades until it was found under a bed and went on the market.  

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