Adieu (soon) to 'King Tut' at National Geographic

At the entrance to King Tut's simulated tomb at National Geographic/Photo by Patricia Leslie

History.com says the discovery of King Tut's tomb 100 years ago is "the greatest archeological find of all time," while Wikipedia calls it "the best-preserved pharaonic tomb ever found in the Valley of the Kings."  

And if you can't get to Cairo to see King Tut's tomb and all his worldly afterlife possessions, National Geographic has brought a semblance to you.

Inside Immersive King Tut at National Geographic/Photo by Patricia Leslie

Although the presentation lacks any artifacts, the tomb story is told in pictures, maps, video and recreations in another "immersive experience," but something is better than nothing, yes? 

Yes! 

A reproduction of the Dec. 12, 1922 page from the Times of London and its explosive pictures and articles upon the discovery of King Tut's tomb, pictured at National Geographic/Photo by Patricia Leslie

The entrance to King Tut’s tomb from a newspaper photograph at National Geographic/Photo by Patricia Leslie

An enlargement of the photograph of a luncheon party on site after the tomb was discovered, pictured in the London Times, Dec. 12, 1922. At National Geographic/Photo of a photo by Patricia Leslie

Some of the artifacts found in the King's antechamber, to help the King on the way to the afterlife. It took ten years to record all the contents. A photograph of a photograph at National Geographic/Photo by Patricia Leslie

It was 100 years ago that the tomb of King Tut (1342 B.C.E. - c. 1323 B.C.E.) was discovered and several times since then that millions of people have seen some of his funerary pieces which have traveled the globe (including Washington, the last stop here at the National Gallery of Art, 1976-1977).

Besides National Geographic, museums around the world are celebrating the centennial of the discovery of the tomb located with about 5,400 artifacts and undisturbed by evil intruders which spells its significance, the only Egyptian pharaoh's tomb discovered mostly intact, one grave robbers had not plundered, although some contents were damaged by humidity and dry conditions. 

At National Geographic/Photo by Patricia Leslie

At National Geographic/Photo by Patricia Leslie

At National Geographic/Photo by Patricia Leslie

At National Geographic/Photo by Patricia Leslie

King Tut became pharaoh when he was only nine years old, about the same time that he married his half sister. He died mysteriously about nine years later, perhaps of gangrene, the effects of a broken leg, or was it blood poisoning or something else?

The tomb's artifacts have permitted archaeologists to examine his life, that of other pharaohs, and the lifestyles of Egyptian royalty, leading to more questions and more research. 

Biography.com says the king accomplished little in his lifetime.  (But, in death..., oh my!)

At National Georgraphic a fascinating family tree is on a wall which shows King Tutankhamun's wife was also his half sister. King Akhenaten was the father of both. Inbreeding was common then/Photo by Patricia Leslie

The nine-foot high golden sarcophagus in King Tut's tomb held as many as eight coffins which nested one inside the other. This reproduction at National Geographic is similar in size to the actual one in Cairo/Photo by Patricia Leslie

A copy of King Tut's gold mask,  the most recognizable symbol of Ancient Egypt and weighing in at 22 or 25 pounds (depending upon your source), pictured at National Geographic/Photo by Patricia Leslie

At National Geographic all King Tut merchandise is priced at half off. Scarves, books, cups, and reproductions of period postcards are some of the products available/Photo by Patricia Leslie

The entrance to the National Geographic presentation starts in a closed "antechamber" with a pre-recorded introduction and film. Then, when the talking ends, a large door opens to reveal the beginnings of a cavernous, darkened hallway where visitors slowly wind their way on a a self-guided tour where wall displays tell the tomb's story. 

To add to the experience, rushing water sounds and funereal music fill the hallways to create a sense of underground hallowed spaces. 

Visitors have plenty of unlimited time to walk and read at  leisurely paces since large crowds were absent, at least when I was there, but more may come, the closer it gets to the ending date of February 6, 2023.

At the entrance to King Tut, National Geographic has free beautifully designed, 24-paged booklets in full color and in different languages about the tomb. The booklet informed me that a "water boy" was the actual discoverer of the tomb when during Howard Carter's sixth attempt to find King Tut, the boy made room in the sand to prop water jars upright and he found a step which eventually led to the tomb.

When I visited and descended into the tomb in 2017, no mention was made of the "water boy."

To ease navigation during the exhibition and for study of various scenes, National Geographic has available at no charge, portable, lightweight seats which guests may carry and use throughout the show.

Immersive King Tut has already traveled to many major American cities with more on the calendar. 

Cairo will "soon" exhibit the King's tomb and all its belongings when it opens its long-awaited Grand Egyptian Museum at the Giza pyramids, to be the largest museum in the world and  about five years behind schedule. 

(A note to the producers:  What I'd like to see:  Prince Harry's "Spare" as an immersive experience.)

 

What:  Beyond King Tut:  The Immersive Experience

When:  Daily through Feb. 6, 2023, 9 a.m. - 5 p.m. The last tickets are sold at 4 p.m. Allow about an hour.

Where:  National Geographic Museum, 1145 17th Street NW, Washington, DC, 20036

Tickets:  From $12 (children, ages 5 - 12) to $20 (adults) with $4 discounts for seniors, military, students, and educators. Children under age 5 are free. Discounts for groups of 20 or more. Same day tickets are not available online but may be purchased on site, subject to availability. 

For more information: (202) 857-7700.

Metro stations:  Near Farragut West and North, McPherson Square.

patricialesli@gmail.com

 

Outstanding 'Sister(s)' Act in Alexandria

Nun ensemble and Deloris (Ashley Williams) in Sister Act at Little Theatre of Alexandria/Photo by Matthew Randall 

Rush! To get an early Valentine's present found on stage in Alexandria.

But, there're not many Valentines left!

It's a delightful Sister Act which is fun!  It's delightful!  Entertaining!  And, oh, will you leave happy!

These "sisters" act, sing, and dance the night away to bring a really great show  to the stage at Little Theatre of Alexandria. 

Did I say fun?

Where did the producers find her? Ashley Williams is the star of the show, a teacher of pre-K. 

Her character is Deloris Van Cartier who shines and leads the musical, spreading her charm on those around her, including the audience.

She's the wannabe, runaway singer who needs to hide after witnessing a murder committed by her boyfriend and his cronies and what better place to run to than a convent, says a friendly cop (Alonzo Cook), who just happens to be an old friend from school.

At the convent, Deloris (as my mother used to say) "upsets the routine." 

You got that right, sister!

The show has so many stars, where to begin?  

Besides Ms. Williams, several "sisters" (who are all named "Mary") play key roles like the perpetually giggling Sister Mary Patrick (Gina Tune) whose face I know must be hurting at show's end from smiling so big and broadly from start to finish. 

The novitiate, Sister Mary Robert (Allison Meyer) has a voice to reach the highest nave, and Sister Mary Lazarus (Jennifer Reynolds) is an old cripple who widens the age range of the participants, appreciatively.     

From left: Mother Superior (Christine Maxted) and Monsignor (Peter Fannon in Sister Act at Little Theatre of Alexandria/Photo by Matthew Randall

Some of my other favorites were the Monsignor (Peter Fannon) who gradually picks up the beat there in the corners, gathering momentum and rolling his shoulders in time with the music.  

That man's got rhythm! 

The stern Mother Superior (Christine Maxted) is super stern and shows off her global acting experiences.

Even the Pope gets in on the act. 

From left: Paola (Odette Guiterrez del Arroyo), Curtis (Paul Caffrey), and Joey (Evan Zimmerman) in Sister Act at Little Theatre of Alexandria/Photo by Matthew Randall

Kathleen McCormack's terrific choreography has the nuns kickin' up their heels, none funnier that the gangsters' prance, led by Joey (Evan Zimmerman) who made me gleeful very time he and his buddies in crime (Luke Martin and Odette Guiterrez del Arroyo who was also, dance captain) appear.

The lead bad guy, Deloris's BF, Curtis (Paul Caffrey) is the stereotypical hoodlum all the way up to his long, greased mop, flying and a'floppin, requiring the wearer to constantly brush it aside in time with the music.

Jean Schlicting and Kit Sibley's' costume designs are fitting for nuns with some sparkly thrown in for Ms. Williams's performances.

Colin Taylor directs the 19 (!) member orchestra offstage and starts the rocking, setting expectations for a "really good show."

Live music is like seeing a work of art up close and in person.  It far exceeds taped sounds and "tinniness," making such a difference with added depth and enjoyment to a terrific night at the theatre.  (But, I am unaware of any LTA performances with artificial music.)   

Director Mike Baker's notes say his team had to produce something creative to accommodate 30 set changes, and they succeeded with fast-paced floor to ceiling photography and video for backdrops with props onstage (by Janie Downey.  Julie Fischer designed the sets and was assistant producer.).

Do you like to leave happy at the end of a show?  

This will leave you laughing and dancing down Alexandria's brick sidewalk, but hurry!  Several shows are already sold out!

Other cast members are Jenni Philp, Eddie Perez, Margaret McGarry, Maria Ciarrocchi, Jennifer Levy, and Sandy Kozel.

Also, Aja Goode (who plays Deloris Jan. 17 - 19), Gifty Amponsem, Claire Aziza, Maria Ciarrocchi, Julianna Laseter, James Miller, Josie Morgan, Bob Thompson, Lourdes Turnblom, and David Valderrama

Other crew members: Kadira Coley and Alan Wray, producers; Sherry Clarke and Micheal J. O'Connor, stage managers; Charlotte Corneliusen, set dressing; David Correia, sound; Ken and Patti Crowley, lighting; Jim Hutzler and Jeff Nesmeyer, master carpenters; Robin Maline, hair and makeup; Steven J. McBride Jr., vocal director; Mary Beth Smith-Toomey, master electrician; Margaret Snow and Robin Worthington, wardrobe coordinators; and Russell Wyland, rigging.

Book by Cheri Steinkellner and Bill Steinkellner

Additional book material by Douglas Carter Beane

Music by Alan Menken

Lyrics by Glenn Slater

Based on the movie by Joseph Howard

Sister Act was nominated for five Tony Awards in 2011, including Best Musical.

When: Now through Feb. 4, 2023, Wednesday - Saturday nights, 8 p.m. Sunday matinees are sold out.

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

Tickets:  $29, weekdays; $34, weekends

Covid policy:  LTA has returned to full seating with no proof of vaccinations necessary, however, masks are required in the theatre. 

Language:  Some mild profanities 

Duration:  About 2.5 hours with one 15 minute intermission

Public transportation: Check the Metro and Dash bus websites. Dash is free to ride and has routes which are close to 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; Main Office, 703-683-5778; or boxoffice@thelittletheatre.com

patricialesli@gmail.com

A certain Oscar nominee: 'Turn Every Page'

Robert Caro, left, and Robert Gottlieb in Turn Every Page/Sony Pictures Classics

A pencil!  That's all they needed for a work session at the publisher's office, but alas, the staff had only a mechanical pencil, and it's doubtful the office youngsters had ever held a pencil, much less had one to lend.

This is just one of the humorous scenes in Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb who delight audiences with their relationship stretching 50 years.

Every Page is charming, it’s hilarious, enlightening and informative. 

It's the story of the two sages who've worked together for decades, writing (Caro, 87) and editing (Gottlieb, 91).   

As the world awaits Caro's last and final volume on LBJ, the film's editor, Lizzie Gottlieb, says confidently: “I have total faith it will get done,” but she did not ask him about a completion date.

“I know he’s working very hard to finish it,” Ms. Gottlieb said last week at the National Press Club after a screening.

It will be Caro's last volume, the fifth, in what was originally planned for three.

Lizzie Gottlieb at the National Press Club, Jan. 10, 2023/By Patricia Leslie

Lizzie Gottlieb at the National Press Club, Jan. 10, 2023/By Patricia Leslie

At the Press Club, Ms. Gottlieb sat with Bradley Graham, the co-owner of Politics and Prose bookstore, to talk about the production of her third film. 

She's Gottlieb's daughter, but her love of her dad does not skew the show.

Years ago she said she realized “I have to capture this while it’s happening now.”

 

Both stars initially objected to the movie. Ms. Gottlieb had some convincing to do but she succeeded. 

It's got great back and forth with the subjects, their wives, and others like Bill Clinton whom she interviewed on the morning of the January 6. 

Also appearing is another Caro fan, Conan O’Brien, who shows up in several places, interviewing the author.  

In rhythm Mr. Caro and Mr. Gottlieb talk separately, about the "process." They argue over semi-colons, “loom” and words, refusing to be filmed together.

Over the years they’ve become somewhat distant friends but it was not always so.  Mainly, it's been an adverse relationship, like boxers in a ring.

 

Answering a question from the audience in the Q and A, Ms. Gottlieb said the hardest part of the film was its structure, and the easiest: “capturing my dad.”

 

On the front row a woman exclaimed: “It's the most perfect film I have ever seen.” 

It took Ms. Gottlieb seven years to make it, the same time it takes Robert Caro to write a book, Ms. Gottlieb said.

She’s made two other documentaries and is a self-taught filmmaker, aided along the way by mentors. 

Writers, editors, journalists, newsmakers, librarians, publishers, researchers, broadcasters, readers, all wordy people will love it! 

The film opens Jan. 20 at E Street .

patricialesli@gmail.com

 

'She Said' is for hardcore only

Zoe Kazan, left, is Jodi Kantor, and Carey Mulligan is Megan Twohey in She Said

The film She Said is for journalists and those interested in the development of the #MeToo movement.

Do we need to be reminded?

The film is a docudrama, well presented with good acting, enlightening, but not entertaining and, frankly, depressing. A little too dry, monochromatic. 

The American Film Institute calls it one of 2022's "best films," but it's not on my list, few films I saw anyway.

Although it's only the back of a Harvey Weinstein, it's revolting enough to recall what he did. The film outlines his unraveling. Hang him high.

New York Times reporters Megan Twohey and Jodi Kantor wrote the book (published in 2019) of the same title and are portrayed in the film by Carey Mulligan and Zoe Kazan. 

Let's hope Megan Twohey's daughter does not grow up repeating her mother's vile language.

patricialesli@gmail.com

Vermeer is worth the wait

The Lacemaker, oil on canvas, National Gallery of Art, Andrew W. Mellon Collection

Woman Holding a Balance, c. 1664, oil on canvas, National Gallery of Art, Widener Collection

The truth comes out.

Whether it’s fake Vermeer or real Vermeer, the wait at the National Gallery of Art is worth it. 

A few Sundays ago the delay to get in the Vermeer galleries was 20 minutes.

Between Christmas and New Year's, the wait had increased to about  two hours, with reservations closing for the day at 2 p.m., a docent told me.

She advised getting on the virtual list to see Vermeer (this is the last weekend!) no later than noon, and even better,  10 a.m. when the Gallery opens. 

The National Gallery closes every day at 5 p.m. and she said going through the show takes only 15 minutes but like my experience, "there's a lot of reading, and folks are staying longer."

A Lady Writing, c. 1665, oil on canvas, National Gallery of Art, Gift of Harry Waldron Havemeyer and Horace Havemeyer, Jr., in memory of their father, Horace Havemeyer

The Smiling Girl  , oil on canvas, National Gallery of Art, Andrew W. Mellon Collection

The Vermeer galleries are not large, only big enough to accommodate a precious few at one time.

The museum's website says visitors may get on the virtual list at any of the information desks.

Girl with the Red Hat, c. 1669, oil on panel, National Gallery of Art, Andrew W. Mellon Collection

Girl with a Flute, c. 1669/1675, oil on panel, National Gallery of Art, Widener Collection

In October, the Gallery announced that what had been thought to be a Vermeer is not a Vermeer, discovered after decades of research by curators, conservators, and scientists.

Who said covid was all bad? 

The covid time break permitted the Vermeer team to conduct exhaustive research, expanding a half-century of technical study, to reveal that the work was rendered by an associate, a freelancer, or even a family member at a possible Vermeer school. 

Because only 35 Vermeers are known to exist, researchers have thought for years that  Vermeer had no students, but that was before a deep dive which used X-ray fluorescence imaging spectroscopies to prove that Vermeer experimented with new techniques, post-dating one work from 1666-1667 to c. 1669.

The National Gallery owns three (previously four) Vermeer originals which rarely go off-view. 

Can you pick out the real Vermeers from the ones shown here? (Answers are at the end.*)

Once you see the differences, it's not terribly difficult to recognize the genius from "Vermeer nots," two which were found to be forgeries after they were admitted to the museum in 1937. 

Go here to read about more about the mysterious Dutch artist (1632-1675) who produced many works with light coming from a window on the left, mostly of women, some with men who seem to be trying to get the young women drunk. (Some things never change!)

Vermeer's Secrets was organized by the National Gallery of Art and curated by Marjorie E.  Wieseman, curator and head, and Alexandra Libby, associate curator, department of Northern European painting, National Gallery of Art.

Conservation research and technical imaging at the National Gallery were provided by Dina Anchin, associate paintings conservator; John K. Delaney, senior imaging scientist; Kathryn A. Dooley, imaging scientist; E. Melanie Gifford, conservation scientist (retired); and Lisha Deming Glinsman, conservation scientist (retired).

Enjoy!

What: Vermeer's Secrets

When: Through January 8, 2023. The National Gallery hours are 10 a.m. - 5 p.m. daily.

Where: West Building, Ground Floor, G33-G34, National Gallery of Art, 6th and Constitution, Washington

How much: Admission is always free at the National Gallery of Art.

Metro stations for the National Gallery of Art:
Smithsonian, Federal Triangle, Navy Memorial-Archives, or L'Enfant Plaza

For more information: (202) 737-4215

Accessibility information: (202) 842-6905

* "Vermeer nots":  Girl With a Flute (new discovery!). Two long-ago discovered forgeries after they entered the museum's collection in 1937 are The Smiling Girl and The Lacemaker, both c. 1925.

patricialesli@gmail.com

'Princess Grace' bows out of Hillwood this weekend

Welcome to Grace of Monaco, Princess in Dior , Hillwood Estate, Museum & Gardens/Photo by Patricia Leslie

At Grace of Monaco, Princess in Dior , Hillwood Estate, Museum & Gardens/Photo by Patricia Leslie

At Grace of Monaco, Princess in Dior , Hillwood Estate, Museum & Gardens/Photo by Patricia Leslie

Here Princess Grace is pictured in a silk crepe on the cover of Elle, August 17, 1967 wearing the dress above. At Grace of Monaco, Princess in Dior , Hillwood Estate, Museum & Gardens/Photo  of the cover by Patricia Leslie

The Princess wore this gown (the back, pictured below) of silk georgette, pearls, and sequins when she was a presenter at Frank Sinatra's first "farewell" celebration at the Los Angeles Music Center in 1971 and at the American Film Institute Life Achievement Awards ceremony for director John Ford in 1973. At Grace of Monaco, Princess in Dior , Hillwood Estate, Museum & Gardens/Photo by Patricia Leslie

The back of the gown on the left, described above. The Princess wore the orange gown on the right at the Motor Yacht Club de la Cote d'Azur Gala in Cannes in 1970 and to the Cannes Film Festival in 1972 when she was escorted by director Alfred Hitchcock. At Grace of Monaco, Princess in Dior , Hillwood Estate, Museum & Gardens/Photo by Patricia Leslie

At Grace of Monaco, Princess in Dior, Hillwood Estate, Museum & Gardens/Photo by Patricia Leslie

This is one of my favorites in the show (the other one, shown below).  It's called, according to the label copy, a "Diorama" cocktail dress of silk chiffon, from 1965.  At Grace of Monaco, Princess in Dior, Hillwood Estate, Museum & Gardens/Photo by Patricia Leslie

See Princess Grace wearing this gown as she was pictured on the cover of Paris Match below.  At Grace of Monaco, Princess in Dior , Hillwood Estate, Museum & Gardens/Photo by Patricia Leslie

At Grace of Monaco, Princess in Dior , Hillwood Estate, Museum & Gardens/Photo by Patricia Leslie

The Princess is pictured in the dress above on the cover of Paris Match, Jan. 26, 1957. At Grace of Monaco, Princess in Dior, Hillwood Estate, Museum & Gardens/Photo of the cover by Patricia Leslie

The Princess wore this day dress of silk twill to the first European backgammon tournament in Monte Carlo in 1973.  At Grace of Monaco, Princess in Dior , Hillwood Estate, Museum & Gardens/Photo by Patricia Leslie

Detail from the day dress above at Grace of Monaco, Princess in Dior , Hillwood Estate, Museum & Gardens/Photo by Patricia Leslie

Does this strike you as rather dowdy for a princess...or for anyone? Yet Princess Grace wore this day dress of silk crepe at the civil wedding ceremony of her eldest daughter, Princess Caroline and Philippe Junot, in Monaco in 1978.  Maybe, Princess Grace was trying to express her lack of joy at the marriage which only lasted two years. At Grace of Monaco, Princess in Dior,  Hillwood Estate, Museum & Gardens/Photo by Patricia Leslie

At Grace of Monaco, Princess in Dior , Hillwood Estate, Museum & Gardens/Photo by Patricia Leslie

The Princess wore this green gown on several occasions, including the Nice Opera in 1976 and the Literary Council of Monaco dinner in 1973.  At Grace of Monaco, Princess in Dior , Hillwood Estate, Museum & Gardens/Photo by Patricia Leslie

This was part of the Princess's wardrobe in 1970, an evening tunic in silk crepe and tassels. At Grace of Monaco, Princess in Dior , Hillwood Estate, Museum & Gardens/Photo by Patricia Leslie

Her hair design was created by Alexandre de Paris for the Bal des Petits Lits Blancs (Ball of the Little White Beds) in Monaco in 1966. At Grace of Monaco, Princess in Dior, Hillwood Estate, Museum & Gardens/Photo of the design by Patricia Leslie

Pictured with Prince Rainier at the Bal des Petits Lits Blancs (Ball of the Little White Beds) in Monaco in 1966. At Grace of Monaco, Princess in Dior, Hillwood Estate, Museum & Gardens/Photo of a photo by Patricia Leslie

Her hair design was created by Alexandre de Paris for the Bal de la Croix Rouge (Red Cross Ball) where she is pictured below.  At Grace of Monaco, Princess in Dior , Hillwood Estate, Museum & Gardens/Photo of the design by Patricia Leslie

With Frank Sinatra at the Bal de la Croix Rouge Ball in 1980. At Grace of Monaco, Princess in Dior exhibition, Hillwood Estate, Museum & Gardens/Photo of a photo by Patricia Leslie

The bracelet on the top is about 1925, and the brooches, 1910 - 1925, all made of diamonds and platinum. The christening bracelet (bottom) is from 1982, of diamonds and white gold.  At Grace of Monaco, Princess in Dior exhibition, Hillwood Estate, Museum & Gardens/Photo by Patricia Leslie

The evening bags are of woven gold, platinum, diamonds, gold mesh, sapphires, pearls, white and pink diamonds, metallic silk, gold, and turquoises.  The larger compact between the purses is engraved "For Grace, November, 1968." At Grace of Monaco, Princess in Dior exhibition, Hillwood Estate, Museum & Gardens/Photo by Patricia Leslie

That's a gold wristwatch and a Cartier brooch of turquoise, citrine, diamonds, and gold, both from 1970 at Grace of Monaco, Princess in Dior,, Hillwood Estate, Museum & Gardens/Photo by Patricia Leslie

Welcome to Grace of Monaco, Princess in Dior , Hillwood Estate, Museum & Gardens/Photo by Patricia Leslie

Welcome to Grace of Monaco, Princess in Dior , Hillwood Estate, Museum & Gardens/Photo by Patricia Leslie

Welcome to Grace of Monaco, Princess in Dior , Hillwood Estate, Museum & Gardens/Photo by Patricia Leslie

The entrance to the Hillwood Estate/Photo by Patricia Leslie

Readers, if you care anything about fashion, this is a "must-see" exhibition with gowns, daywear (different from yours and mine), hair styles, jewelry, and fashion accessories in the first Princess Grace wardrobe showing in North America. On display are designs made from her enduring relationship with the house of Christian Dior (1905-1957) whose clothes made up about a third of the Princess's wardrobe.  

The items are on loan from the Palace of Monaco.

Princess Grace was married to Prince Rainier III of Monaco (1923-2005) for 26 years.  They married in 1956, a true love affair cut short by her death in 1982 as a result of a traffic accident when she suffered a stroke. Prince Rainier never remarried and in photographs after her death, always appeared wistful and lost without his mate. A love tale ending too soon as they all do.

According to Wikipedia, Grace (1929-1982) was inaugurated into the International Best Dressed List Hall of Fame in 1960, and in 1955 the Custom Tailored Guild of America listed her as the "Best-Tailored Woman."  Numerous exhibitions have been held of her life and clothing including an exhibition at the Philadelphia Museum of Art to mark the 50th anniversary of her marriage in 2006 which displayed her wedding dress, which took 35 tailors six weeks to finish. 

A retrospective of her wardrobe was held at London's Victoria and Albert Museum in 2010 and at other venues. 

In 2009, a plaque was placed on the "Rodeo Drive Walk of Style" in recognition of her contributions to style and fashion.

Before she married the Prince, Grace Patricia Kelly won an Academy Award in 1954 for her role in The Country Girl, and appeared in ten other movies and more than 60 television shows

It is fitting rapprochement that Grace appears at Marjorie Merriweather Post's elegant mansion for the two had much in common with their haute couture choices and refined living.  

Go and mingle with glamour and feel shared sophistication! It is true, darling. The refinement of the apparel worn by Princess Grace of Monaco  and the grandeur found at Hillwood Estate, Museum & Gardens has a noble afterglow for visitors who can assume the style and "grace" presented.

The exhibition was organized by the Christian Dior Museum of Granville and curated by Florence Müller, Avenir Foundation Curator of Textile Art and Fashion, Denver Art Museum.

What:  Grace of Monaco:  Princess in Dior

When:  Now through Sunday, January 8, 2023, 10 a.m. - 5 p.m. 

Where:  Hillwood Estate, Museum & Gardens, 4155 Linnean Avenue, NW, Washington, D.C. 20008

Tickets:  $18 (adults), $15 (seniors), $10 (college students), $5 (child, ages 5 -18) and free for members and those under age 6.

Parking:  Free, on-site

For more information:  202-686-5807

Metro station: Van Ness/UDC station on the Red Line, then walk a (mostly uphill) mile and burn off calories.  (Taxis, available.)

Metro bus stop: The L1 or L2 bus stops at the corner of Connecticut and Tilden streets, NW, about a half mile walk (mostly uphill) to Hillwood.

patricialesli@gmail.com