'Man of La Mancha' is a hit in McLean

"Don Quixote" (Mike Baker, Jr.) and "Aldonza/Dulcinea" (Janice Rivera)/Traci J. Brooks Photography

You don't have to be a resident of McLean to enjoy a decades-old favorite, Man of La Mancha, staged by the McLean Community Players at McLean's Alden Theatre now through February 11.

It's about the cheapest theatre ticket in the region, and it is a treat.

A sold-out audience loved the show on Saturday night, and the music and orchestra made us all dreamers of the impossible.

 The stars, "Cervantes/Don Quixote" (Mike Baker, Jr.), "Aldonza/Dulcinea" (Janice Rivera), "Sanchez" (Nathan Tatro), the Duke/Doctor/Knight (Lance Adell), and the Governor/Innkeeper/Moor (Jay Tilley) are some of several who lead the way and sing admirably to delight the crowd.

The best melodies are the duets and quartets ("The Impossible Dream," "Golden Helmet of Mambrino," "I'm Only Thinking of Him") sung by the cast, the prisoners in a dungeon of 17th century Spain during the Inquisition. (A contemporary setting could work just as easily.)

Part of the cast from Man of La Mancha/Traci J. Brooks Photography

Don Quixote is a new resident of the prison where men and women stay for a day or a lifetime. The other prisoners immediately attack him, put him on trial and demand all his possessions if he is found guilty. Quixote asks that he be allowed to defend himself with his play within a play, his book he has with him, authored by Miguel de Cervantes who is also Don Quixote. The play/play takes the group on Quixote's make-believe journey with his faithful sidekick, Sancho (who "really likes him").

Nowhere are there "horses" (Chris Gallegos and Celina Gomez) who can act, show emotion, and prance as well as these "ridden" by Quixote and Sancho.  Their costumes (Kathy Dunlap) match their performances.

From left, Sancho's horse (Celina Gomez), "Don Quixote" (Mike Baker, Jr.), Quixote's horse (Chris Gallegos) and "Sancho Panza" (Nathan Tatro)/Traci J. Brooks Photography

While the revolutionary, the "knight-errant," travels the countryside with Sancho, those he meets along the way in his dream world call him loco. (Are all dreamers crazy? Anything out of the ordinary is suspect.) At last, he meets his "sweet lady," "Aldonza" whom he calls "Dulcinea," a prostitute who rejects the world and those around her. Quixote tries to convince her that all is not lost. Does he succeed?

Exquisite lighting (Ken and Patti Crowley, Richard Hildebrand), constant action, drama, and song are more than sufficient to keep things moving quickly, and so many people fill the stage that lack of a set change is hardly noticeable. Props are used judiciously: rectangular boards become a table becomes a church pew or confessional becomes a bed.

Don Petersen directs, and Cathy and George Farnsworth produce, assisted by Linda Stone. The 14-piece orchestra led by Walter McCoy adds immensely to the evening's entertainment.

Program notes say the play is suitable for ages 16 and up.

What: Man of La Mancha

When: Friday and Saturday nights at 8 p.m. through February 11, 2012 with a Sunday performance at 2 p.m., February 5, 2012

Where: Alden Theatre, McLean Community Center, 1234 Ingleside Avenue, McLean, VA 22101

Parking: Plentiful, free, and on-site

How much: $20 ($18 for seniors, students, and McLean "tax district residents")

For more information: 703-790-9223

patricialesliexam@gmail.com

Secretary of State James Baker scolds Congress

Former Secretary of State James Baker spoke at St. John's-Lafayette Square/Patricia Leslie

You know you're out of power when your limousine is yellow and your driver speaks Farsi, said former Secretary of State James Baker Sunday morning when addressing the Adult Forum at St. John's Episcopal Church, Lafayette Square.

With apologies to his Farsi friends, he added.

Secretary Baker, 81, came to the church to talk about "Faith, Public Service, and Public Policy," and attending his presentation was his "very best friend in life," President George H.W. Bush, who sat in the President's Pew with Mrs. Bush.



President George H.W. Bush at St.John's-Lafayette Square/Patricia
Leslie

Former First Lady Barbara Bush at St. John's-Lafayette Square/Patricia Leslie

Mr. Baker, tanned and relaxed, spoke and answered questions (nothing was off-limits, he said) for about 50 minutes and frequently interspersed his comments with praise for President Bush.

The secretary supports the nomination of Mitt Romney because Gov. Romney represents the best chance the Republicans have to defeat President Obama next November, he said.

"Governor Romney would be far and away the strongest candidate in the fall."

The election will be determined by independent voters in critical swing states [Colorado, Iowa, New Hampshire, Michigan, Minnesota, North Carolina, Pennsylvania, Ohio, Wisconsin, Florida, Virginia, and some say Nevada] since the coasts will go Democratic and the heartland will vote Republican.

"A contested primary is good for the candidate in the general election."

The 13-year Capitol Hill veteran who worked for President Gerald Ford, President Ronald Reagan, and President Bush said people everywhere desire affirmation, recognition, and fulfillment, not just D.C. power brokers. Power can be "intoxicating and addictive," but it alone does not "bring the fulfillment that many people think it does."

When asked about the possibility of American troops going into Yemen, Somalia, or other African nation, Mr. Baker said "our economy is in the tank, and we don't have the money to go" and "be the policeman of the world." He talked about "wars of choice" versus "wars of necessity." 

He commended President Obama, the Navy Seals, and the military for taking out Osama bin Laden, and he cited last week's successful rescue of an American in Somalia. He made no negative remarks about the president but he had a few for members of Congress.

Harmony is lacking in "the cynical world we live in today, especially in the city of Washington, D.C. ," and the blame rests with both parties. It is time to redevelop a bipartisan approach to government. "We all have to start to return some sense of comity." Washington gridlock is caused by one party wanting to increase spending, and the other party wanting to cut it.

"The parties must find a way to compromise" which "is not a dirty word..... We need to start focusing on the Number One Problem: we are broke."

Besides the economy, Mr. Baker said another major problem in the U.S. is the proliferation of media outlets and the "talking heads" who stimulate divisiveness that sells. "Comity does not sell." He mentioned cable channels and the Internet where anyone can put anything up, true or not.

Redistricting is another problem and another divider.

When one party gets in office, it redistricts to favor itself, and the reverse happens when the other party wins. Democrats tend to nominate candidates who are left of center, while the Republicans nominate candidates right of center, leaving out the center which is disappearing. Mr. Baker said he has no remedy since redistricting is constitutionally protected, and suggested it's easier if one party controls the House, the Senate, and the White House, then "maybe something can be done, but President Obama had that for two years."

Answering another question, he said he believes the Arabs and Israelis will reach a peace agreement, likely not this year, but later, but not too much later, since 80% of the Israelis want peace although the present Israeli government "is unwilling to lean forward for peace."


About the Iranians, he said he thought they were too smart to block the Strait of Hormuz since it would be an act of war and a violation of the international sea agreement which would likely compel the U.S. to act. He  has no insider information but thinks and hopes the Iranians are merely talking rhetoric and they "may be posturing a little bit."

Former Secretary of State James Baker at St. John's-Lafayette Square/Patricia Leslie

Mr. Baker spoke sincerely about his faith and friendship.

To "live a life of faith doesn't come easy" and "takes some serious hard work." Baker said he was not a saint unless a saint is a sinner who keeps on trying.

Friends, friendships and lasting personal relationships that enrich lives and help individuals find their way are the most important ingredients to a satisfying life, he said, acknowledging several times the help his wife, Susan, has provided.

He quoted a favorite Biblical passage of his mother who lives "through the communion of saints": Proverb 3: 5-6: "Trust in the Lord with all your heart, in all your ways acknowledge him, and he will make your paths straight. "

"Faith and friends bind people," the secretary said.

Coming up at St. John's:

February 1, 12:10 p.m. Cupid's Heart, a half-hour harp and organ concert by Rebecca Smith and Michael Lodico

February 12, 10 a.m. John Milton Cooper, Jr., author, history professor, and former fellow at the Woodrow Wilson International Center for Scholars, will talk about Wilson's presidency at the Adult Forum

February 19, 10 a.m. Kristie Miller, author of Ellen and Edith: Woodrow Wilson's First Ladies, will speak at the Adult Forum

February 26, 10 a.m. Gigi Bradford, writer, editor, and chair of the Folger Shakespeare Library Poetry Board, will discuss similarities between faith and poetry at the Adult Forum

The National Gallery of Art opens 'triple header'

Pablo Picasso, Head of a Woman, 1921, pastel, Fondation Beyeler, Basil


Two new exhibitions and newly refurbished galleries were unveiled in the West Building at the National Gallery of Art over the weekend and its director, Earl A. Powell,III, called them "a triple play."

They are:

* The opening of the renovated 19th-century French galleries on the main floor

* Picasso's Drawings, 1890–1921: Reinventing Tradition through May 6, 2012 on the ground floor (near the 7th Street entrance)

* The Baroque Genius of Giovanni Benedetto Castiglione prints and drawings through July 8, 2012 on the ground floor (also near the 7th Street entrance)

After a two-year makeover, the French impressionism and post-impressionism galleries are now open, and many of the masterpieces which hung in the Chester Dale Collection up for two years on the ground floor which recently ended and you feared you would never see them again are here: Manet, Cezanne, Courbet, Cassatt, Morisot, Renoir, van Gogh, Degas, Gauguin, Monet, Toulouse-Lautrec, and finally, Picasso, are some of the artists. The way some of them are hung now, they can have "conversations" with each other, according to the Gallery's Mary Morton, head of French paintings.

The Monet gallery in the renovated French galleries at the National Gallery of Art.  It is the smallest of the new 14 galleries, good for "quiet contemplation," said Mary Morton, French painting curator and head/Patricia Leslie

On Sunday she spoke about the new show to several hundred people in the packed East Building auditorium.  Earlier in the week Dr. Morton called the Chester Dale Collection "one of the greatest of its kind in the country, if not the world."

Director Powell said the completion of the 14 French galleries ends 10 years of renovation at the West Building which is now "completely open again."

Gustave Caillebotte, Skiffs, 1877, collection of Mr. and Mrs. Paul Mellon

The 55 or so Picasso drawings, pastels, watercolors, and collages are much, much more than what visitors may expect.  The show is a history of early Picasso art including his earliest work, Hercules (age 9), and displays his first three decades of drawings in  chronological arrangement.

More than half the works come from private collections, most of which Gallery visitors will never see again. On an energetic flight through the exhibition, Curator Andrew Robison enthusiastically described them, pointing out one wall in the third gallery where three of four works are private. 

In the third gallery of the Picasso exhibition, three of these four paintings are from private collections/Patricia Leslie

The exhibition presages the Picasso masterpieces to come. Art education was important to the youthful Picasso whose father was a painter.

The 17th century drawings are detailed pen and ink scenes by the Italian baroque master, Castiglione, and his contemporaries and followers. Whether or not visitors are "churchy," the meticulous etchings and finest of pen strokes of many Biblical scenes will produce deep appreciation for this fine art where close-up inspection is permitted.

Giovanni Benedetto Castiglione, The Flight into Egypt, 1647/1649, etching, National Gallery of Art, Washington, D.C., Ailsa Mellon Bruce Fund

Pietro Testa, The Infant Christ at the Foot of the Cross, 1635/1637, etching,  National Gallery of Art, Washington, D.C., Ailsa Mellon Bruce Fund

The Frick Collection in New York and the National Gallery of Art organized the Picasso show for which the Hearst Foundation, Inc. is a major sponsor.

In celebration of the exhibitions, the National Gallery of Art is hosting talks, concerts and films. See the schedule here. 

When: Open daily from 10 a.m.- 5 p.m., Monday through Saturday, and 11 a.m.- 6 p.m., Sunday

Where: The West Building of the National Gallery of Art between 4th and 7th streets along Constitution Avenue

How much: No charge

Metro station(s): Archives, Judiciary Square, Federal Triangle, or L'Enfant Plaza and/or ride the Circulator bus with stops at the West Building

For more information: 202-737-4215  or click here

patricialesliexam@gmail.com

The National Symphony Orchestra mixes contemporary and classical

 Conductor James Gaffigan by Margaretta K. Mitchell



Not Mozart nor Schumann nor guest pianist Ingrid Fliter could outshine the contemporary music of Fluss ohne Ufer ("Shoreless River") by German composer Detlev Glanert, a piece co-commissioned* and played by the National Symphony Orchestra in its U.S. debut last weekend at the Kennedy Center.

It was a full night at the NSO.

The youthful and energetic guest conductor, James Gaffigan, briefed the audience about the composition's background: It is about a shipwreck, love, a battle, and two occupants, one of whom was not supposed to be onboard. And the boat sinks. Mr. Gaffigan compared parts of it to Debussy and said the timing juxtaposed to last week's ship catastrophe off the coast of Italy was coincidental.

With ominous sounds, the basses quietly forebode the calamity about to occur.  Faint notes suggest the tension might be coming from offstage rather than from the orchestra itself, adding to the mystery. The music gradually transforms to produce scary images of a monster rising from the water's depths, giving Hitchcockian warning about the eminent tragedy.

Momentum builds to vibrant clashing and roar of waves. Cannons to right of them, cannons to left of them are heard with dynamic contributions from strings and horns adding to the ferocious ending which gradually converts to tranquility as water covers the boat, it sinks, and the music subsides to match the starting notes.

Mr. Glanert, 51, a native of Hamburg, helped the orchestra rehearse "Shoreless," Mr. Gaffigan said, and the composer was present for the Friday evening performance as well. When the orchestra finished playing his work, Mr. Glanert, smiling broadly, enthusiastically bounded upon stage to receive multiple ovations from the standing audience.

Composer Detlev Glanert

Ms. Fliter, who has performed with NSO every other year since 2008, played an audience favorite, Schumann's Piano Concerto in A minor, Op. 54, her fingers flying like speedy spiders building webs back and forth across the keyboard. She bobbed up and down on the piano bench displaying vitality and enthusiasm one can only envy. 

Not to be overlooked, two of composer Mozart's works began and ended the evening: Divertimento in D major, K. 136 and Symphony No. 41 in C major, K. 551, "Jupiter," which turned out to be Mozart's last symphony. Program notes said nineteenth century critics began calling it "Jupiter" after the god, rather than the planet, presumably because of its "fugal finale" and emphasis on "stately trumpets and timpani." Timpani, finale, or sonata, a symphony orchestra can do no wrong with Mozart.

*Other co-commissioners of "Shoreless River" were Germany’s WDR-Cologne, the Royal Concertgebouw Orchestra in Amsterdam, and the BBC for the BBC Proms in London.

Coming up:

What: A program of classical and contemporary music featuring soloist Jörg Widmann with Christoph Eschenbach conducting.

WIDMANN - Armonica

MOZART - Clarinet Concerto in A major, K. 622

SCHUBERT - Symphony No. 9 in C major, D. 944 "The Great"

When: January 26-29, 2012

Where:  The Kennedy Center

Metro station: Foggy Bottom and ride the free shuttle (every 10 minutes) from there to KC (or walk it)

For more information and tickets: Click here or call 202-467-4600 from 10 a.m. to 9 p.m. daily.

patricialesliexam@gmail.com

The Mariinsky Ballet was ecstasy at the Kennedy Center

 

The Mariinsky Ballet's The Firebird/guardian.co.UK

Really.

 

If I had been able to find a ticket for a second consecutive performance of Les Saisons Russes, I would have snarfed it up, but all I could locate on the Web Friday were two $252 seats for the Sunday matinee. A bit out of my range.

 

The performance was that outstanding.

 

On stage and presented in almost three hours of dance were sex, passion, mayhem, music, magnificent costuming and perfect sets.

 

See what you are missing sans a ballet subscription?

 

 

Had there been no dancers on stage, the music by the Kennedy Center Opera House Orchestra would have been enchanting enough.

 

The placement of Chopin's Chopiniana at the beginning was a smart spot since it would have been overwhelmed by the passion of Stravinsky's The Firebird and Rimsky-Korsakov's Scheherazade which followed. Michel Fokine crafted the choreography for all ballets about 100 years ago.

 

Chopiniana was a harmless romantic poem, without plot or much controversy, but nevertheless, vastly entertaining. The ballerinas wore cream-colored calf-length dresses with scooped necklines and danced in front of a Watteau-like landscape, an elegant backdrop to prepare the audience for what lay ahead.

 

The Mariinsky has danced The Firebird  for 18 years, and The Firebird (Alexandra Iosifidi) was spectacular in resplendent orange with yellow streaks and a red-feathered headdress (or, from the ceiling, that's what it looked like). Her resistance and fight with Ivan-Tsarevich (Alexander Romanchikov) were skillfully portrayed, but the stand-out, as least for costuming and horror, was the awful Kashchei the Immortal (Soslan Kulaev) and his minions. Not to demean the Russian artisans in any way, but it was Ballet on Broadway with all the theatrics.

 

For the third ballet, Scheherazade, the audience became peeping Toms, able to gaze stealthily inside a harem and learn what happens when body guards and gatekeepers depart. It was as wild a scene as one could hope.

 

Throughout the night, the cymbals, harp, horns and strings got a sound workout. After the performance, Russians were heard discussing the impossibility of obtaining Mariinsky tickets in the motherland.

Run, if you can, and sign up for a ballet subscription next year, and do not miss another Mariinsky which should leave you days later with beautiful imagery of its majesty.

'Iron Lady' wins Oscar for 'Dullest Movie'

Darling, the critics are right: It is not worth seeing unless you:

1. Adore Meryl Streep who puts out another stellar performance

2. Are a makeup artist (incredible. Kudos to Marese Langan)

3. Write historical fiction

In the audience at Tysons Corner was no one under age 45, and there is reason for their absence: b o r i n g.

Really, if you must see it, save your neck and take a pillow. Or, save your cash and take a nap (at home).

Factually, it appears to be accurate for about half the show but about one-third of it occurs in dementia victim Margaret Thatcher's head as she talks with her dead husband, Denis Thatcher, played by Jim Broadbent who does a right jolly good job. (Mrs. Thatcher, 86, is still living.)

By means of mental flashbacks while the prime minister suffers the vagaries of dementia, the movie tells Mrs. Thatcher's life story from later childhood (admirably played by Alexandra Roach) through her reign as the only female (and longest serving? Wikipedia is dark (save the Internet) and I cannot verify) British prime minister in the 20th century.

Actual footage of British riots inflamed by Mrs. Thatcher's "let them eat cake" attitude are included.

David Gritten at the Telegraph says Ms. Streep's performance overshadows the movie, and who can deny it?

What else is there to say?

Except, darling, I have grown rather weary of Meryl Streep, and respectfully request, please, someone else in a starring role.

Dancing talk at Glen Echo

A Saturday "swing" night at Glen Echo where the crowd danced to the music of Blue Sky 5 + 2, sponsored by Flying Feet Enterprises/Patricia Leslie

Act I

Overheard at the unheated dance hall (where it doesn't take much to warm up), a conversation and an offer between two 60-somethings.

"Susan," dressed in black dancing shoes, black tights, black "swing" skirt and a decidedly unsexy fleece zipped to her neck, stands next to a column waiting for the 8 p.m. swing lesson to begin.

"Dave," dressed in an all-black suit with orange tie and wearing a woolen knit cap with his name stitched across the forehead (which he never removes), approaches Susan and once they engage in conversation, takes aim with a fox's stare, never taking his eyes from hers.  He has targeted more prey.

Dave: Hi.

Susan: Hi.

Dave: My name's Dave.

Susan (smiling): I am Susan.

Dave: You look familiar.

Susan: (? and rolls her eyes)

Dave: I know you! Do you work at the ______________ ?

Susan: Yes, I do! I don't recall seeing you there.

Dave: That's because my business ________________.

Susan: Oh, well, I work in a nearby building.

Dave: Oh.

Pause

Dave: I am looking for a wife.

Susan: I am not material.

Dave: How come?

Susan: (?) Been there, done that.

Dave: And?

Susan: (?) And?

Dave: And?

Susan: It's too confining and ....

Dave interrupts: But I have a lot of money!

Susan: (And?)

Dave: I own my own business which I am going to sell for $___ million. I know Stevie Wonder.

Susan: (Wondering how Stevie Wonder has crept into the conversation) I just saw him on TMZ.

Dave: TMZ? What's that?

Susan: A trashy TV show

Dave: Where do you live?

Susan: Northern Virginia

Dave winces.

Susan: Where do you live?

Dave: Northern Virginia (pause): I got an offer on my house last week for $1.6 million, and I bought it for $100,000 20 years ago.

Susan (Fancy that): Did you accept the offer?

Dave: No, I'm gonna wait for something higher.

Susan:

Pause

Dave: Don't you ever get lonely?

Susan: Sometimes.

Dave: I lived with someone for 18 years.

Susan (Congratulations): Where is she?

Dave: I dunno

Pause

Dave: I have a place in Key West, too.

Susan:

Dave: I am going to dance with you.

The scene ends as the dance class begins.

Act II

An hour later on the dance floor with 400 people dancing swing to an orchestra. After several dances, Dave finds Susan.

Dave: Let's dance. I know the steps; follow me.

(Turns out he is a very good dancer.)

Dave (emphatically): Put your arm here! (On his)

Susan: Well, if you know the steps, why did you come to the class?

Pause

Dave: This is the Fox Trot (as he glides her along backwards on the floor where her foot is crushed three times by men weighing 200+ lbs.).

Susan: I thought we were supposed to be doing "the swing."

Dave: This is what we are doing...the Fox Trot.  Just don't think about it.

Susan (As they dance): I was wondering (pause)... if this is called the Fox Trot, is it because... this is the way foxes trot?

Dave: (?)

After three numbers together, Susan takes a water break where she spots an obnoxious neighbor across the dance floor. Fearful of an invitation (or not) to dance,  she makes a break and escapes into that good night.

It pays to get out.

What: Dancing to live music

When: Thursday - Sunday nights, some Sunday afternoons

Where: 7300 MacArthur Boulevard, Glen Echo, MD 20812

How much: $15 or $16

For more information: Call 301-634-2222 or email info@glenechopark.org

patricialesliexam@gmail.com