'Evita' cries for Argentina (extended) at the Olney

Rachel Zampelli is Eva and Nick Duckart is her husband, Juan Perón, in Olney Theatre Center's Evita/Photo by Stan Barouh

Who was "Evita" and why should we care?

What a difference Eva Perón (1919-1952) made to Argentina where she was first lady (1946-1952), the second wife of President Juan Perón, and widely known as a champion of women's rights, the working classes, the "shirtless ones," and the poor for whom she worked sometimes 22 hours a day until near the end of her life.

She was despised by the military and bourgeoisie who resented her efforts on behalf of society's segments which excluded them.

 Robert Ariza is Che with the cast of Olney Theatre Center's Evita/Photo by Stan Barouh.

When Eva Perón decided to run for the vice-presidency the year before she died, social and health constraints forced her to reconsider, and, instead, the Argentine Congress declared her "Spiritual Leader of the Nation," the same year she died of cancer at age 33.
  
Now offering a glimpse of her life, loves, and dynamics, Olney Theatre Center presents Andrew Lloyd Webber's and Tim Rice's Evita which won seven Tonys in 1980 after it opened on Broadway.

The musical is one more chance to hear the signature piece "Don't Cry for Me Argentina," beautifully sung by Olney's Evita, Rachel Zampelli.

Although the audience longs to hear "Don't Cry" one more time, it's an unrequited desire, yet the melody, in true Lloyd Webber style, hovers throughout the show from beginning to end.

A minimalist presentation characterizes the play, and the real star is not "Evita" but "Che" (Robert Ariza) the narrator who monopolizes the stage. It is no surprise that Ariza claims Broadway and Helen Hayes awards. His muscular, strong performance, under director Will Davis' tutelage, is daunting.
 
 The show's choreographer is Tony nominee and Helen Hayes award winner Christopher d'Amboise who keeps his well-trained and experienced ensemble busy in multiple numbers, often as backdrop.

Ivania Stack dresses the laborers in realistic and monochromatic garb of the era, which sharply contrasts with Evita's flair and flash, and helps transmit the message that Evita was persona nonpareil, and it's true:  Eva Perón and her husband (here, in a supporting role, admirably acted by Nick Duckart) did address two million persons from a balcony in Buenos Aires in 1951, and a year later, three million came for her funeral.

Under the direction of Christopher Youstra, the seven members of the orchestra play in their usual grand manner, masterfully on stage right, but this time, a better location in the pit might have improved the experience since the juxtaposed musicians and actors seem to share little passion between themselves.

Well designed lighting (by Colin K. Bills) helps shift scene variations from a single, great hall anchored by long arched windows which frame outside visuals (Arnulfo Maldonado).

Other cast and crew Evita members are:  Lane Elms, sound, Josiane M. Lemieux, production stage manager, Dennis A. Blackledge, direction of production, Megan Adrielle, Ronald Bruce, Nick Lehan, Kristin Yancy, Mark Chandler, Jamie Eacker, Nurney, Jonathan Atkinson, Willie Dee, Ashleigh King, Maria Rizzo, Jane Zogbi.

Commemorations on the anniversary of Eva Perón's death (July 26) have almost turned the day into a national holiday. Eva Perón was then and now considered saintly, and some compare her to Jesus Christ.

Her legacy is heralded by proud Argentines, including the country's first female elected president (2007-2015), Cristina Fernández de Kirchner.

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

When:  Wednesday through Saturday extended through July 31, 2016 at 8 p.m., with Saturday and Sunday matinees at 2 p.m. and a July 13 Wednesday matinee at 2 p.m. 

How much: Tickets start at $38, with discounts for military, groups, seniors, and students.

Duration: About two hours plus one intermission.

Refreshments: Available for purchase and may be taken to seats.

Parking: Abundant, free, and on-site

Special performances and events:

Audio described performance for the blind and visually impaired, presented by Metropolitan Washington Ear, Wednesday, July 13, at 8 p.m.

Post-show discussion after the 2 p.m. Saturday performance on July 16, 2016  

For more information: 301-924-3400
 
patricialesli@gmail.com

Ellen Sinel's art at the Cosmos Club

 Ellen Sinel, "Mill Pond II"

You do not have to be a member of the Cosmos Club to see Ellen Sinel's works on display there now, but it helps.

Without membership in the exclusive society, however, one can still gain admittance to see Ms. Sinel's show, "Nature in Motion," by contacting one of her representatives at Studio E Partners, which is based in Bethesda.

  Ellen Sinel, "Grey Grasses"

Ms. Sinel's art hangs on the first floor of the mansion, near the walls of esteemed members' photographs, making quite a contrast from the celebrities' lives and the stress they endured as mostly Washington residents. 
  
Landscapes and sinewy scenes are peopleless and respites in an urban setting, occupied by water and skies and pieces of nature's inhabitants found far from contemporary lives. Ms. Sinel's peaceful scenes of curvy tree trunks and browns and greens do not seek to stimulate as much as placate existential proclivities.

Ellen Sinel, "In a Thicket"

Links to geometrics and mathematical formulas become evident from demonstrations the artist embellishes with nature's hues.  A calmness suffuses her works, rather like a sedative, and one can hear the grasses and wind if minds are loosened (but what are those red lines which interrupt a tranquil interpretation?).


In an artist's statement, Ms. Sinel writes "The source of my inspiration is landscape...nature's constant transformations....real or partly imagined places....My objective is to evoke an emotion--an awareness of the natural world."

Trees are a constant subject, and modern abstractions she finds in forests enter her woods. marshes, and grasses, found in many parts of the U.S.  

Ms. Sinel draws from the perspective of one lost, isolated, riding solo on a train which seems to stand still. 

The show's "Country Grasses with Purple Skies" is somewhat discomforting and not as peaceful as other paintings, with color clashes of purple skies above the mountain's plain, thrust against nature's color presentation which is hidden until you look closely and think about it more than intended.

The list of Ms. Sinel's major exhibitions fill more than four pages and span decades, beginning when she was a college student, which is shocking itself for her appearance belies her age by years.   

An art student at Skidmore College, San Jose State, and American University, Ms. Sinel divides her time between Washington and Truro, Massachusetts.

In collaboration with the Fairfax at Embassy Row across the street from the Cosmos, Studio E hosts "Artful Evenings," a chance to meet artists, see their works, and share the joys of creation with other aficionados.

Future "Artful Evenings" are scheduled for October 13 with Rodney Smith and November 10 with Robin Hill

Studio E also represents Laura Battle, Steve Burnett, Andrew Faulkner, Brece Honeycutt, Frank P. Phillips, Catherine Linder Spencer, and Brockie Stevenson.

What: "Nature in Motion" by Ellen Sinel

When:  Through September 6, 2016

Where:  The Cosmos Club, 2121 Massachusetts Avenue, Washington, D.C. 20008

How much:  No charge if contacting Studio E Partners or join the club "recognized as a Platinum Club of America & a Distinguished Emerald Club of the World."

patricialesli@gmail.com

Nats wallop Phils again (in plain English and poetry)

 It didn't seem like a win was going to happen when the Phils went ahead 4-3 in the top of the ninth/Photo by Patricia Leslie

When you read WAPO and game summaries, do you have trouble understanding what actually happened at the Nats' baseball games?  

Do you ever think the WAPO writers are trying to outjockey T.S. Eliot, James Joyce, and William Faulkner, combined? Me, too.  

Hullo, hullo, any editors left? 

Therefore and here below in living English, mostly, (with some poetry thrown in) is what happened at Sunday's game, Nats v. Phillies.

  The ninth inning, Nats v. Phil., June 12, 2016/Photo by Patricia Leslie

It was a perfect afternoon for baseball (well, almost, depending on whether you were sitting in the shade or the sun).  

Phil fans were there, of course, in great numbers but not in the vast amount of conspirators they've been known to occupy in our quarters, ever since we took back our stadium from the upstarts.

 In the ninth the Nats straddled the fence, watching and waiting for a win /Photo by Patricia Leslie

Shadows were growing on the field towards the end of the game. It was the beginning of the ninth and we had watched the Nats' lead (3-0 before the fifth) shrink during the afternoon when the Enemy scored once in the fifth and twice in the sixth to tie the game.
  
In all their wisdom, the Nats' brought in closing pitcher Papelbomb who, yes, threw a home run in the ninth. Thanks, Pap!

(He's the one everyone hates since he tried to strangle our star player, Bryce Harper, in the dugout last year.  This is a true story. In the dugout!  Our starring guy!  Never mind a star's murder in the dugout.  Who was watching?  Oh, just everybody since it was telecast only live on TV!  Who will ever forget that?  We won't forget it, no matter how hard Nationals' management tries to make us.)

 After Werth's big hit in the bottom of the ninth, the team chased the Super Star out on the field/Photo by Patricia Leslie


Where was I? 

In the ninth at the Nats.

On Sunday it was rather disappointing, even though the Nats were having a great day, that Bryce wasn't playing. The players can't play every day.  They got to have a day off, right?  Even though it was my first game of the season.

Okay, so closer Papelbomb throws his home run in the ninth (I realize this has already been said but it bears repeating), and away the Phils go with the lead, just like that! 

We get to the bottom of the ninth with the score, 4-3.  We are holding out breath.  We have all watched this show before.  It happens.

  Those are Werth's hands, too, in the air thanking the heavens for a thrilling win/Photo by Patricia Leslie

When suddenly, 

Out from the dugout there came a big splash, 
a Star and his bat, it made my heart crash,
My son did exclaim, and he shouted for joy!
"They're bringing in Harper! He is our fast boy!"  

When what to my wondering eyes should appear
But Bryce Harper, his bat, confronting the Phil,
With his big, bold hit on the bat I just knew
He raced to first base, bypassing a shoe.

Elvis had arrived!  Died, gone to heaven and come back, straight to Nats stadium.  Back from the dead!  There he was!  Mr. America!


The stands erupted in melee when Bryce came out of vacay to hit.  

Celebration!  Screams, explosions in the air. Yells, on your feet. "Everybody, clap your hands!" Clapclapclapclapclapclapclap!

 Off they march to the dugout to find the jug of Gatoraide (?) to pitch on Werth/Photo by Patricia Leslie

 Bryce got to first, and Danny Espinosa soon followed. 

We still had high hopes of beating that awful Pennsylvania team, especially since the Pennsylvania Industrials had beaten our precious Caps way back when.

Now we had a man on first and second, and Bryce was the tying run.

Ecstasy (without drugs) and no one suspected the other cool surprise which lay ahead. (Baseball is full of surprises, not all of the good kind.)

The supply of Nats pinch hitters seemed endless, and the outs were two.

As I looked at the field and was turning around,
there came the Old Man up to the mound,
He was dressed in the right colors
from his head to his toe
He got ready to deliver the last, fatal blow

His eyes - how they twinkled! his dimples how merry,
His cheeks were like roses, his nose like a cherry;
His face was hidden by lots of red hair
Which fell down behind him, a chill Phil nightmare

Lo and behold, I tell you the facts, the "Old Man," the savior who, in a totally independent data-driven study by three scientists, was found to bear a remarkable resemblance to Jesus Christ Superstar, comes out on the mound, to an exploding stadium, filled with standing and screaming fans heard as far away as the Washington Cathedral (confirmed by the gargoyles which hang around outside). 

His modern-day name: Jayson Werth.

The Phil pitcher took it to a full count, and 

We wheezed, and we breezed, 
and we made our pleas, please, 
to our man on the mound, 
our Hercules.

Werth breathed slowly, to match his pace. (You ever seen him walk out to position?  He is slower than Metro on a slow track day.)

We stood and watched.  
There was no time to pray. 
We heaved, and we sighed.
We wanted our way. 

When out on the lawn there arose such a clatter
Which showed to the nation that old men do matter
Over the tops of their heads
And exceeding arms' length,
Werth hit it and sent it beyond Phil boys' strength

Werth shot out that last pitch which skidded between second and third, and Harper and Espinosa raced home, Bryce running to home plate from third and waving his arm around and around like a wheel on a locomotive at 200 MPH, urging Espinosa to "bring it all home, boy!"  

And they did, just like that:  The Nats won, 5-4. 

Meanwhile, Werth was still running for his life, since Pap was chasing him with the rest of the team beyond first base into the great unknown, to screams and yells like the rest of us, Werth losing his helmet on the way.

Now, Taylor!
Now, Murphy!
Now, Ramos!
And Espie!

On, Pappy!
On, Solis!
On, Harper
And Heisey!

To the top of the wall
To the rim of the fence
Now, dash away!
Run away!
This is how to play ball!


And I heard them exclaim, 
Ere they soared outa sight,
Happy Baseball to All, 
and to All a Good Night! 

patricialesli@gmail.com