Saturday, October 6, 2018

'On the Waterfront' soars with live orchestra


They don't make 'em like they used to. One of the On the Waterfront posters/Wikipedia

It was a gift for the senses to see and hear the fabulous score by Leonard Bernstein (1918-1990) played by the National Philharmonic Orchestra for the screening of the eighth best American movie ever made.*

The audience at the Music Center at Strathmore swooned to the maestro's only movie score and the 1954 crime drama On the Waterfront, starring the young and fit Marlon Brando (1924-2004) who went on to win the Oscar® for Best Actor for his portrayal of "Terry," a longshoreman beset by the extremes of good and evil.

It was the Philharmonic's film show debut which will certainly not be its last.



The National Philharmonic under the direction of Piotr Gajewski/Photo by Joshua Cogan

Who am I to disagree that a single French horn begins the score when I heard drums and cymbals? I just write what I heard which, in this case, was loud percussion to open the movie.

At the beginning, the drums probably were a little too domineering for the script, but their magnitude soon settled in to the sounds of the docks to match the shipyard visuals in black and white, and scenes in the warehouse inhabited by conniving union bosses who commandeered crews to handle their heavy lifting.

Soon enough the searing initial musical notes were disrupted by the script and tone which summoned light strings and a welcome shift from hostility and tension to romance.
Marlon Brando in On the Waterfront/Wikipedia


Playing opposite Brando was a new ingénue, Eva Marie Saint starring in a breakout role. (And, at age 94, she is still wooing them.) 

On the Waterfront tells the true story of longshoremen, a working class which in those times got short shift when it came to movie subjects, said a film lecturer in a SRO pre-concert program.

Linda DeLibero, senior lecturer in the Film and Media Studies program at Johns Hopkins University, and David Sterritt, Editor-in-Chief of Quarterly Review of Film and Video, talked to an overflow crowd about the making of the film which "stands on its own," Ms. DeLibero said, calling On the Waterfront, "the pinnacle" of Brando's career. 

(He was nominated seven times for Best Actor and won twice, also for The Godfather in 1972.)
Another On the Waterfront poster/Wikipedia

It "really transcends that time.  I really think it's that important," and it carried some improvised scenes.  Ms. DeLibero drew the attention of the audience to the "glove scene" which she indicated was improvised.  It's a sexy interaction where Brando, early in the romantic relationship, tries on the dropped glove of Eva Marie Saint, and while engaged in conversation, neither mentions the act.

The movie must transcend the time because Mr. Sterritt used the phrase, too, in his remarks:  "The movie transcends the moment." 

Waterfront was made after the "trauma of [World]war [II]," DeLibero said which was still " fresh in people's minds."

It received 12 Academy Award nominations and won eight excluding Best Supporting Actor (three in the film were nominated: Lee J. Cobb, Karl Malden, Rod Steiger) and Best Music, but it's Bernstein's score which endures, wrote  film music historian, Jon Burlingame, in the program notes.

The performance was another of the many celebrations of Leonard Bernstein's 100th birthday celebration.

The story was based on real events in New Jersey which won the Pulitzer Prize for Local Reporting in 1949 for the  New York Sun. The director's second choice for writer, Budd Schulberg wrote an original script (and won the Oscar®).  He spent countless hours interviewing the reporter for the Sun and at sessions of the Waterfront Crime Commission, portrayed in the film.  

Originally, Elia Kazan who directed (and won the Oscar® for Waterfront) pursued Arthur Miller as writer, but Miller turned down the proposal, disillusioned by Kazan's testimony before the House Un-American Activities Committee, where Kazan identified eight "suspicious" persons.  

Upon learning he did not get the role, DeLibero said Frank Sinatra, a New Jersey native, tore up his hotel suite. Kazan wanted Brando.

While the film was being made, Brando was near a nervous breakdown and had to take off every day at 3 p.m. to see his psychiatrist.


On the Waterfront on the big screen with live music was a lasting experience.   

Conducting was Piotr Gajewski who studied with Bernstein and had a Leonard Bernstein Conducting Fellowship at Tanglewood Music Center.  

Throughout the film, the music effectively signaled increasing tension.  Playing significant roles were the strings, triangle, xylophone, percussion, cymbals, and hornsThe piano sometimes echoed in a plaintive soliloquy. Dainty notes by the harpist could frequently be singled out before the movie's content enveloped the audience.

Familiar chords from Bernstein's West Side Story which came three years later on Broadway were easily recognized.

In recognition of his service to classical music and to Strathmore, Eliot Star Pfanstiehl, CEO Emeritus and founder of Strathmore Hall Foundation Inc., and chef temporaire par excellence was given the opportunity to direct the orchestra when it played the Star-Spangled Banner to start the show on stage.

The orchestra played under the screen with blue lights at the stands to illuminate the score. To ensure that everyone heard the dialogue, subtitles were used. 

Had it been made in color, that would have weakened the message which black and white underscored.

*according to the American Film Institute. 

Coming up, the National Philharmonic performs:

What: "Lenny's Playlist"with Mozart's Overture to the Magic Flute, Barber's Violin Concerto, Op. 14, and Shostaskovich's Symphony No. 5 in D minor, Op. 47 

When:  8 p.m., Saturday, October 13, 2018 and 3 p.m., Sunday, October 14, 2018

Where:  The Music Center at Strathmore, 5301 Tuckerman Lane, N. Bethesda, MD  20852

Tickets: Buy online or call 301.841.8595

Free parking at the Metro Grosvernor-Strathmore station next door

patricialesli@gmail.com





       

Sunday, September 30, 2018

U.S. Army Chorus opens St. John's free First Wednesday concert series, Oct. 3


The U.S. Army Chorus

American spirituals, patriotic favorites, and more are set to be performed by the United States Army Chorus when it opens this year's series of free concerts at St. John's Episcopal Church, Lafayette Square, on October 3. 

The lunchtime concerts are part of the church's First Wednesday performances played monthly at 12:10 p.m. and lasting about 35 minutes.

Formed in 1956 to accompany the U.S. Army Band, the U.S. Army Chorus regularly sings with the National Symphony Orchestra on Memorial Day, Independence Day, at other patriotic events, and for visiting heads of state. It tours the U.S. and performs with local symphonies.

Also called "Pershing's Own," the chorus, whose members speak more than 26 languages and dialects, is one of the few professional male choruses in the U.S.

In the Chorus's repertoire are traditional military music, pop, Broadway, folk, and classical tunes. 
Major Leonel A. Pena is the director.
St. John's Episcopal Church, Lafayette Square, Washington, D.C./ Photo by Patricia Leslie

St. John's founded in 1815 is known to many Washington residents as the yellow church at Lafayette Square, and often called the “Church of the Presidents.” Beginning with James Madison who was president from 1809 to 1817, every president has been a member of St. John's or has attended services at the church. A plaque at the rear of St. John's designates the pew where President Abraham Lincoln often sat when he stopped by the church during the Civil War.

For those on lunch break, food trucks are located at Farragut Square, two blocks away.

Who: The U.S. Army Chorus

What: First Wednesday Concerts

When: 12:10 p.m., October 3, 2018

Where: St. John’s, Lafayette Square, 1525 H Street, NW, at the corner of 16th, Washington, D.C. 20005

How much: No charge

Duration: About 35 minutes

Wheelchair accessible

Metro stations: McPherson Square (White House exit), Farragut North, or Farragut West

For more information:
Contact Michael Lodico, St. John's director of music ministry, at 202-270-6265.

Future dates and artists of the First Wednesday Concerts are:


November 7: The Ars Nova Brass Quintet with organist Michael Lodico 

December 5: The Episcopal High School Chamber Chorus will sing Music of the Season under the direction of Brent Erstad.

January 9, 2019 (second Wednesday): Concert organist Colin Lynch will play works by French composers.


February 6: Baritone Bob McDonald's sings jazz from Broadway shows.

March 6: No concert due to Ash Wednesday.

April 3: A concert by percussionist Tom Maloy and organist Michael Lodico

May 1: Music by organist Lisa Galoci and trumpeter Chuck Seipp to include the world premiere of Paul Leavitt's Fanfare for Trumpet and Organ

June 5: The U.S. Air Force Strings with pianist Brent Erstad will play Gerald Finzi's Ecologue and Ralph Vaughan Williams' Fantasia on a Theme by Thomas Tallis   

patricialesli@gmail.com

Monday, September 24, 2018

Herndon has a hit!


The cast of The Wedding Singer at NextStop Theatre in Herndon is getting ready to swing from the lights/Photo by Lock and Co.

You are invited to crash one of several weddings in The Wedding Singer and have almost as much fun as the cast at the NextStop Theatre where one theatregoer was heard to say, "I could see that again."
 

The Wedding Singer is packed with frivolity, a large cast, pretty costuming, and rockin' music. (It's 1985, after all.)
 

And what can go wrong at a wedding (or two)? Audiences love 'em.

Everyone is dressed up in wedding finery, designed by costumer Amy MacDonald who has her hands full creating numerous outfits for many guests at many weddings.


Weddings mean music and dancing, and it's almost non-stop in this show, put on by choreographers, Cathy Oh and Mark Hidalgo, who have dancers matching steps magnificiently in great time, all the while singing. That it's a smaller stage than one would expect for a dance team this large is never a consideration. In this production, size does not matter.  

THE bride and groom are the stars, of course: Molly Rumberger's tiny frame belies her strong voice, and Ricky Drummond carries the show.
 

Acting from one extreme to another is James Finley who is quite at ease, mind you, in duplicitous roles as the conniving Wall Street baron, another groom (the one you grow to hate), and a preacher man, characters all dressed appropriately in slick con man attire or clergy clothing, whatever is required. (Clothes make the man as Robbie, THE groom, shortly discovers.)
 

Several of my favorite characters are performed by Rick Westerkamp, the dance captain, who, like several cast members, has multiple roles, but he doubles, triples, barreling out on stage in the first number as the lucky groom, then, in the last scene, after several other roles, he is Imelda Marcos (still living, age 89) in varying shades of pink, head-to-toe with a wig (one of several crafted by Sue Pinkman) which extends about a foot towards the hanging lights, and "she" carries a shoe box!

Two of my other favorites were Grandmom Rosie (Marylee Nicholas) whose every sentence was a scream, and George (Evan LaChance), the adorable band member with long hair and bearing a great resemblance (at least in the dark, after the show (?)) to Conan O'Brien. With each of their appearances, the audience laughter grew louder. 


My only complaints were the lighting, which no doubt has improved from missing the main performer a few times, and the "bad," totally gratuitous, offensive words which serve no purpose other than to make old fogies like me cringe. We did not use these now commonplace, vulgar words in the 80s and their omission would make the show suitable for a larger audience.

(The strip tease numbers and simulated sex scenes were not off putting.)


On the top row I had trouble at times hearing the single word which produced gales of audience laughter, but a youngster in her 20s who sat on the front row told me she missed some of the words, too
.

Another reason not to sit on high is because you stand no chance of being selected by cast members to twirl around the dance floor before the show begins.

Take your dancin' shoes and get ready to spin!

The Wedding Singer is based on the 1998 movie starring Adam Sandler and Drew Barrymore. It opened on Broadway in 2006 and was nominated for eight Drama Desk awards and five Tonys, including Best Musical and Best Choreography.

The book is by Chad Beguelin (who also wrote the lyrics) and Tim Herlihy with music by Matthew Sklar. Evan Hoffmann directs. 


Other cast members are: Joshua Redford, Amanda Leigh Corbett, Rachel Barlaam, and in the ensemble, Carolyn Burke, Jaclyn Young, Ivana Alexander, Carl Williams, Colton Needles, and Amanda Spellman.

Also on the creative team are J.D. Madsen, scenics; Brittany Shemuga, lighting; Reid May, sound; Alex Wade, properties; Laura Moody, stage manager; Kathleen Veer and Kate York, assistant stage managers; James Morrison and Jonathan Abolins, master electricians

Steve Przybylski conducts the orchestra and plays keyboards, assisted by Elisa Rosman; Chip Carvell and Rick Penalta are the guitarists, and on alternate nights, on the bass are Jared Creason and Jonas Creason, and, drums, Jim Hofmann and Alex Aucoin. 


What: The Wedding Singer
  
When: Thursday through Saturday nights at 8 p.m., Sunday, Oct. 7 at 7 p.m., weekend matinees at 2 p.m., now through October 14, 2018.

Where: NextStop Theatre Company, 269 Sunset Park Drive, Herndon, VA 20170 in the back right corner of Sunset Business Park, near the intersection of Spring Street/Sunset Hills Road. Right off the Fairfax County Parkway. A wee big hard to find on a first visit, so allow an extra 15 minutes. The program notes that GPS map systems often give incorrect driving directions once inside the Sunset Business Park. From the "Taste of the World" restaurant, circle counter-clockwise around the building and look for maroon awning

 
Free parking:
Available near the door.

Admission: Tickets start at $40 with 20% discounts for eight or more. If any seats remain at curtain time, student rush tickets may be sold for $5 cash. Before the show, there are student discounts and senior discounts (for season purchases). For more information, check here.


Duration: About two hours with one intermission

Language rating: X

Skin and sex: Striptease numbers and simulated sex scenes
 

For more information: 703-481-5930 or BoxOffice@NextStopTheatre.org
 

patricialesli@gmail.com

Sunday, September 23, 2018

The 'new' Tysons library still has leaks

At the Tysons-Pimmit Regional Library today/Photo by Patricia Leslie

When visiting the Tysons-Pimmit Regional Library, library users need more than a library card.  They need umbrellas, towels, and galoshes, too.
 
Two and a half months later and the "new and improved" Tysons-Pimmit Regional Library still has leaks.

This is after an earlier round of leaks was discovered at the library in July. Then the library had been open only nine months after a $5.6 million renovation had kept it closed for almost two years.
At the Tysons-Pimmit Regional Library today/Photo by Patricia Leslie

A staff member told me when the library crew arrived at work this morning, they discovered water dripping on copiers and other equipment, causing some of the ceiling to collapse, meeting rooms to close, and the halt in customer copying.

"Don't worry, it will be fixed tomorrow," said the staffer, but who pays?  Insurance is probably adequate, but what about the designer and builder of the library? What does this do to insurance rates? What part of this bill lands in the taxpayers' wallets?

 
At the Tysons-Pimmit Regional Library today/Photo by Patricia Leslie
If you were planning a tutoring session today at the Tysons-Pimmit Regional Library, you needed galoshes and towels inside this meeting room and maybe some gloves to pick up debris/Photo by Patricia Leslie


The Tenley-Friendship library in D.C. has had leaks, too, but the second leak at Tysons in under three months?  Come on!

In addition to books, periodicals, computers, and reference help, this library always has on hand huge supplies of heavy-duty plastic and caution tape.  

Be careful, the ceiling tiles you trip over may have asbestos.  Oh, that's right.  It's not used any more.

Maybe it's a new way to build libraries with leaks so refurbishment (planned obsolescence) is unceasing. 

(Since I do not want you to think ill of me, Mr. Builder and Mr. Designer, I do not mean to state or think the unthinkable, the impossible.  Just a little drip of humor, I insert.)


patricialesli@gmail.com

Sunday, September 16, 2018

Today is the last day for 'Heavy Metal' at the Women's Museum

This expresses how I feel many days! It is Self-portrait 4, 2005 by Carolina Rieckhof Brommer (b. 1979, Lima, Peru). Read more about her below/Photo by Patricia Leslie

Hurry!  

It's a feast for bored art eyes ending today at the National Museum of Women in the Arts at 5 p.m.  

Metal is the medium of choice for women artists who have "heavy metal" in the show.

My hair in the morning?  No, it's Self-portrait 3, 2004 by Carolina Rieckhof Brommer (b. 1979, Lima, Peru). The artist's experience as a costume designer made her aware of restricted and uncomfortable clothing many women wear. This is an example of wearable art which can be "empowering and protective-often all at the same time," according to label copy/Photo by Patricia Leslie

A museum press release says one purpose of the exhibition is to disrupt the common believe that metal belongs to men only, despite women working in the field for centuries.
 

The presentation is the fifth of the Museum's Women to Watch series, shown every two to five years which features works by underrepresented artists from states and countries where NMWA has outreach committees.

To gain more attention at that next party, wrap this snake around your neck and record your responses. Made of stainless steel, 14-karat gold solder and Mediterranean coral, it's titled sacredheartknot, 2015 by Lois Brooks (b. 1969, Ann Arbor, Michigan).  The label says Ms. Brooks tries to create a sense of unease and finds inspiration in fairy tales and nursery rhymes "which often have macabre undertones."/Photo by Patricia Leslie
This reminds me of the Titanic, but this creation depicts a smaller iceberg  above the ship, not below, and this, on second glance, looks to be a city in the hull of a helmet. Somewhere there is oil, so maybe this is the Titanic in Texas? Or, the evolution of a city in Texas. Kelsey Wishik (b. 1990, Charleston, S.C.)  is the artist who made Space City, 2012 of mild steel/Photo by Patricia Leslie
 Ho hum, unlike most who are smarter than I, I still do this! Holly Laws (b. 1963, Savannah, Georgia) says the caging unfolds the story of this domestic chore, mostly done by women. It is a respectful presentation of notorious "women's work," which many resent (ahem) having to perform.  The titles are (from left) Placeholder and Three Eastern Bluebirds, both, 2017/Photo by Patricia Leslie

From committees' submissions, NMWA curators selected 50 works from 20 artists including Cheryl Eve Acosta (b. 1980, Mayaguez, Puerto Rico) who has 17 different pieces of jewelry on display.

Some of the artists used recycled materials such as can tabs (Alice Hope).  Charlotte Charbonnel used iron filings and a singular sound from the Pacific Ocean (not metal), however, the sound echoed that of a train (which qualifies) and is titled Train End. Leila Khoury makes monuments to places affected by the war in Syria. Artists used tin, aluminum, steel, bronze, brass, pewter, silver, and gold.


This is a portion of Grandfather, Cricket and I, 2016 by Carolina Sardi (b. 1967, La Plata, Argentina) which is plated steel over a painted wall which look like luscious jewel pieces to me (earrings, necklace, brooch, anyone?)/Photo by Patricia Leslie
A beehive of porcupine quills? Or, a fancy chandelier made for the lobby of the World Wildlife Fund or other animal lover? Not to make light of any of these pieces but just to show what they can suggest! Alice Hope (b. 1966, Hong Kong) made this untitled piece last year of steel ball chain, used fishing tackle, and found netting, one of three works she has in the show. The wall label says the artist repeats processes in making art, like that required in "women's work" (sewing), all ending in "deep texture and movement."/Photo by Patricia Leslie
Does this suggest slinkys to you? They are still available on the Web.  The Second Part, 2014, one of four works in the show by Paula Castillo (b. 1961, Belen, New Mexico), is made of fencing nails and auto-body finish.  Ms. Castillo "finds beauty" in industrial remains which help her visualize "how human-made and natural forces perpetually remake the world we inhabit," according to the wall copy/Photo by Patricia Leslie
A close-up of another by Alice Hope (b. 1966, Hong Kong), also untitled and made in 2004/Photo by Patricia Leslie

It is fun to admire the ingenuity of these artists and wonder about the sources of their inspirations. The museum is an excellent place to bring children who can join their parents to admire the wonders of creativity, and come up with their own ideas about just exactly what is here and what they can make from it.

A catalogue ($21.95) is available in the shop or online.  

What: Heavy Metal-Women to Watch 2018
 
When: Through today. The National Museum of Women in the Arts is open Mondays through Saturdays, 10 a.m.-5 p.m.; Sundays, 12-5 p.m.
 

Where: The National Museum of Women in the Arts, 1250 New York Avenue, N.W., Washington, D.C. 20005
 

Admission: Free on the first Sunday each month. Otherwise, fees are $10, adults; $8, seniors and students; and 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