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 

Middle East photo show ends at Women's Museum

This is a brother and sister, photographed by Gohar Dashti (b. 1980, Ahvaz, Iran), Untitled #4 from the series, "Today's Life and War," 2008, courtesy of the artist

If you missed the stark exhibition which ended today at the National Museum of Women in the Arts, She Who Tells A Story by 12 women photographers from Iran and the Arab world, you may still buy the 176-paged catalogue for $40.

The entrance to the show/Photo by Patricia Leslie

For the show's opening, museum director Susan Fisher Sterling wrote: "These groundbreaking artists challenge us to rethink our preconceived notions about Arab and Iranian women and their art." It "challenges stereotypes" about the Middle East region "and "provides insight into political and social issues."

This one and the three photographs below are part of different series by Boushra Almutawakel (b. 1969, Sana'a, Yemen), "Mother, Daughter, Doll," 2010, Museum of Fine Arts, Boston.  The series progresses into darkness, and the subjects gradually change expression and apparel until they are... no more.

Part of different series by Boushra Almutawakel (b. 1969, Sana'a, Yemen), "Mother, Daughter, Doll," 2010, Museum of Fine Arts, Boston. Above are the ending photographs in the series pictured below on the wall.  The first photograph begin with a smiling mother and daughter (and doll) who are progressively covered up until there is only darkness left (above; photograph on right).

Part of different series by Boushra Almutawakel (b. 1969, Sana'a, Yemen), "Mother, Daughter, Doll," 2010, 

Museum of Fine Arts, Boston

Part of different series by Boushra Almutawakel (b. 1969, Sana'a, Yemen), "Mother, Daughter, Doll," 2010, Museum of Fine Arts, Boston

The artists' creativeness came unbound in the presentation, clashing with restrictive and cloaked apparel so often associated with women from the area and frequently seen on Washington's streets. Indeed, some artists focused their cameras on the hijab and the burqa. (The Middle East is not the only conservative region when it comes to vestments: In a report issued this year by the Pew Research Center, 40 percent of European countries regulate women's religious dress in one way or another.) 

Shadi Ghadirian (b. 1974, Tehran, Iran), Untitled, from the series "Qajar," 1998, courtesy of the artist

 Shadi Ghadirian (b. 1974, Tehran, Iran), Untitled, from the series "Qajar," 1998, courtesy of the artist

Not everything is dark and humorless.  Try an outing in a boat. Tanya Habjouqa (b. 1975, Amman, Jordan) Untitled from the series "Women of Gaza," 2009, courtesy of the artist and East Wing Contemporary Gallery

Ruth Halawani (b. 1964, Jerusalem) Untitled XIX, from the series "Negative Incursions," 2002, courtesy of the artist and Selma Feriani Gallery, London

 Ruth Halawani (b. 1964, Jerusalem) Untitled VI, from the series "Negative Incursions," 2002, courtesy of the artist and Selma Feriani Gallery, London

The exhibition included more than 80 photographs and a video installation which filled galleries with contemporary color, and black and white images of life (sometimes staged) in the Middle East.

NMWA Curator Kathryn Wat noted on a tour that the show contained different subjects (including gender roles, military objects, and ways women are oppressed), displayed with "an element of grit, a lot of humor, and irony." Nine of the dozen artists still live in the Middle East. 

The exhibition was organized by the Museum of Fine Arts in Boston where it opened and next traveled to Stanford University and then, the Carnegie Museum of Art in Pittsburgh before arriving in Washington.
 
Buy the catalogue here or at the National Museum of Women in the Arts, 1250 New York Avenue, N.W., Washington, D.C. 20005 which has other exhibitions to see.

Admission: Free on the first Sunday of the month (August 7) or $10, adults; $8, seniors and students; and always free for members and children, 18 and under.

For more information: 202-783-5000

Metro station: Metro Center. Exit at 13th Street and walk two blocks north.

patricialesli@gmail.com

Movie review: 'Weiner' is must-see for political junkies

Anthony Weiner's name is familiar to all political junkies.  He was an aggressive, progressive seven-term congressman (D-New York) who was defeated by his own sexting scandal.  It was 2011 and only two short years later, New York City's voters gave him a second chance when he decided to run for mayor.

Until he did it again. 

Until he sextexted again.

This man is sick.

The movie, Weiner, is about his political life of the last five years, chiefly, New York's mayoral race.  At Rotten Tomatoes, Weiner has earned a 96% rating from the critics, an 87% from the audience, and at the Sundance Film Festival, "Best Documentary."

But, why did they do it?  

Why did Weiner and his wife agree to permit filmmakers inside their lives and record them carte blanche?  (Most of the time. In two tense moments when truth comes knocking on the marital door, Weiner asks the film crew to leave .) 

His wife is the lovely, Huma Abedin, who is Hillary Clinton's indispensable aide.  In the film Abedin shatters her robotic persona as bag carrier. She reminds me of George Clooney's wife. (How does she keep that lipstick on all day?)  
   
After the 2011 shock, Weiner gathered momentum and sallied forth in his last campaign when he ran for mayor. He rode to the top of the polls, until the second sexting scandal broke, and this time, the voters gave him no second chance. 

He won less than five percent of the final tally.

Watch Weiner fall, see the media go nuts, and the trash follow him relentlessly around trying for a photo op 
inside the morass populated by humor, sadness, and wonder.

Campaign workers will recognize the office scenes, the talk, the buzz,  making calls, staging, knocking on doors, eating pizza for B,L, and D.  ("Been there; done that.")
 
Josh Kriegman and Elyse Steinberg directed the documentary, enriched by Jeff Beal's musical compositions and videos from talking heads Jon Stewart, Stephen Colbert, Howard Stern, and Lawrence O'Donnell. 

Near the end of the film Weiner is asked: Why did they do it? He considers the question and drifts glumly to the next scene without answering.


Did they do it for future political gain?  Perhaps.  But, the American people are good about forgiving, and I think they'll give this relentless, energetic Democrat another chance, and he'll ride the cause again.

patricialesli@gmail.com