Tuesday, November 19, 2019

Justice Clarence Thomas has his own movie



U.S. Supreme Court Justice Clarence Thomas in Created Equal:  Clarence Thomas in His Own Words/Manifold Productions


Comments by the filmmaker, producer, and director after the screening of his new film about Clarence Thomas were almost as interesting as the film itself.

An adoring, practically fawning crowd welcomed the first public showing of Created Equal:  Clarence Thomas in His Own Words last week at the Cato Institute. At the show's end, filmmaker Michael Pack and Cato's Roger Pilon, who served as moderator, answered questions from the audience until there were no more.

Most of the questioners preceded their remarks with "brilliant!" and "excellent!" 

In the film, set for airing by PBS next May, Clarence Thomas sits and faces the camera and talks about his life, beginning with his early childhood.  He and his wife, Ginny, sat for 30 hours of interviewing, Mr. Pack said, and it was difficult to reduce that length to two hours, which left no room in the film for contributions and viewpoints from others.

Mr. Pack hopes law schools and other colleges will pick it up. 
Michael Pack at the Cato Institute Nov. 13, 2019 for the screening of his new film, Created Equal: Clarence Thomas In His Own Words/Photo by Patricia Leslie


Archival videos and photographs made excellent visuals, supplemented with the few Thomas family pictures available.


Several times Mr. Pack said that Justice Thomas's life is a classic American story, a much harder upbringing he had than, say, Justice Ruth Bader Ginsburg (whose RBG has earned nearly $14.5 million since its release in 2018. Mr. Pack sighed).
  
In Pin Point, Georgia, close to Savannah, Clarence Thomas's father abandoned his family when the future justice was a toddler. His mother struggled to earn a living wage and take care of her children who roamed the streets when the boys were six and seven years old.

In desperation, she took Clarence and his younger brother to her parents to live, and the two boys delighted to find indoor plumbing and food on the table every night at their grandparents' home. (Nothing was said about what happened to Mr. Thomas's mother or his sister.)

His grandfather was a disciplinarian who instilled hard work in his grandsons, respect for others, and a keen sense of the value of education. Mr. Thomas says he  "really regretted," not visiting his grandfather before he died to tell him "how much I loved and respected him."

The future justice attended Catholic high school and at age 16, considered becoming a priest. That possibility led him to seminary school until a racial epithet after the death of Martin Luther King Jr. caused Mr. Thomas to leave. That was about the time a door opened at the College of the Holy Cross and from there, it was on to Yale law school.

Justice Thomas describes his career and work for Sen. John Danforth (R-MO). After climbing the legal ladder, Mr. Thomas was nominated to the U.S.Supreme Court by President George H.W. Bush in 1991.

Presiding over the Thomas Senate confirmation hearing was Sen. Joe Biden, who, of course, is included at one of his worst moments, to the delight of the laughing audience. 

Mr. Thomas says he had no idea what Sen. Biden was talking about in the hearing when the senator talked about "natural laws," but Mr. Biden announced to everyone present that he and Mr. Thomas knew what he was talking about. (You have to see it.) 

The clash with the testimony of Anita Hill consumed  more in the film than expected. (At least four in the audience were not Thomas fans, including me who believed and still believes Anita Hill.)

When Mr. Thomas learned his nomination had been approved, his response was a sarcastic "whoop-dee-doo." 

Mr. Pack said unequivocally that the justice had not seen the film but Mr. Thomas's wife, Ginny (quoted extensively in it), had.

More than once Mr. Pack said the justice wanted to get his words out.  Clearly, Mr. Thomas still carries a chip on his shoulder which he probably has borne throughout life.

The documentary is an unbalanced portrayal but an autobiography, a hagiography someone suggested today, nonetheless. Mr. Thomas, 71, is now the most senior associate justice on the Supreme Court.

Mr. Pack's company, Manifold Productions, produced the film, with the help of his wife, Gina, a Manifold vice-president, who was also present.  

She urged her husband to shorten Words which is good advice! With redundant scenes of an unmanned boat gliding through Georgian marshes, I say, "cut!"

The banjo and piano made excellent accompaniment in the film as did the guest reception which preceded the showing.

patricialesli@gmail.com



 

Sunday, November 10, 2019

Turkey a-go-go at the Indian Museum



A Thanksgiving feast at the National Museum of the American Indian, Washington, D.C./Photo by Patricia Leslie

 You can't bear the thought of getting yourself to umpteen million stores to buy the goods for Big Turkey Day?

Don't want to prepare a menu? Cook?

Forget it, forget the lists, the shopping and driving (the traffic!),  unloading, polishing, cleaning, table setting, and deciding who likes what for Thanksgiving Day. (Oh, and then there's clean-up and floral arrangements and ironing and, and ...)
 Chef Freddie J. Bitsoie invites you to the Thanksgiving feast at the National Museum of the American Indian, Washington, D.C./Photo by Patricia Leslie
The lad can't wait to get a plate and pile it high with delicacies from Chef Bitsoie's Thanksgiving feast at the National Museum of the American Indian, Washington, D.C./Photo by Patricia Leslie

Call in your order to the National Museum of the American Indian which is serving a delicious feast for six to eight for only $190 (plus tax).   

Or, come to the museum on Thanksgiving Day and sit down at the restaurant which for years has enjoyed the best reputation for museum food anywhere in this town.
 A Thanksgiving feast at the National Museum of the American Indian, Washington, D.C./Photo by Patricia Leslie
 Wild rice salad at the National Museum of the American Indian, Washington, D.C./Photo by Patricia Leslie
 A Thanksgiving feast at the National Museum of the American Indian, Washington, D.C./Photo by Patricia Leslie


If you consider what you would spend for the Thanksgiving meal, the meal to go is a bargain, plus, it's homemade without that starchy, Styrofoam pre-made taste often found in grocery take-outs.

For every 25 meals purchased, the museum will donate a free meal to Martha's Table whose goal is to enable strong children, families, and communities through education, healthy eating, and family assists.
 The National Museum of the American Indian, Washington, D.C./Photo by Patricia Leslie
 The National Museum of the American Indian, Washington, D.C./Photo by Patricia Leslie
The National Museum of the American Indian, Washington, D.C./Photo by Patricia Leslie

Call in your order for good eatins' or order online by Monday, Nov. 25 to 202-633-7044 or https://smithsonian.catertrax.com. Pick up at the Museum's Mitsitam Cafe on Wednesday, Nov. 27 from 10 a.m. to 5 p.m.

Now, for the menu created by Chef Freddie J. Bitsoie, one of few Native American chefs with a national reputation.

Since I tasted all these delicacies last week, I can speak truthfully about their deliciousness:

Maple-glazed roasted turkey (which comes with a thermometer)

Cornbread

Gravy

Cranberry sauce 

Pumpkin and chocolate bread pudding with baked pumpkin bread, custard, and chocolate chips

and your choice of four of these sides:

Apricot, fig and pear dressing of cornbread, fruits, and spices

Buttery mashed russet potatoes

Agave braised butternut squash

Wild rice salad with carrots, pine nuts, scallions, cranberries, lemon and olive oil

Three Sisters Salad with corn, black beans, squash, parsley, lemon, and olive oil. 


(If your taste buds aren't exercised after reading this, you may need a tongue treadmill which I am sure is available on the Internet. Here's an article at NIH I found.)

Ordering the meal to go will give you time to attend the Blackfeet Nation Tribal Festival this coming Saturday and Sunday from 10 a.m. to 5 p.m. and hear the talk by Curator Cecile R. Ganteaume on Tuesday, Nov. 19, at 2 p.m. about  Pocahontas and "her early impact on European and American thought."  (She was more than just an Indian princess!  Come and learn.)

As if these weren't reasons enough to buy out, it will leave you energy to attend the Native American Heritage and Family Fun Day at the museum on Black Friday, Nov. 29, from 10 a.m. to 4 p.m.

November is Native American Heritage Month and the museum honors the 6.6 million Native American and Alaska Native people living in the U.S. plus millions of other Indigenous people found in the Western Hemisphere.

What:  Thanksgiving at the National Museum of the American Indian

When: 10 a.m.. - 5:30 p.m. , open daily except Christmas Day


Where: Fourth Street and Independence, S.W. Washington, D.C 20560


Admission:  No charge

Closest Metro station: L'Enfant Plaza.  Exit at Maryland Avenue/Smithsonian Museums and, once outside, walk towards the U.S. Capitol.

For more information:  202-633-6644 or 888-618-0572

patricialesli@gmail.com




 


Friday, November 8, 2019

'Theory' debuts at Mosaic


The Theory classroom ensemble at Mosaic Theater/Photo by Christopher Banks

A lady at the Smithsonian reception* the other night told me she liked provocative theatre, the kind which makes you think. She paused: "As long as it's got good acting.

"You're going to love Theory," I said, the newest show at Mosaic Theater which presents the American premiere of an award-winning Canadian production.

It will set your mind ablaze, I told her, while you ponder the meaning. For progressive theatre lovers, it's must see.  

Ari Roth, the much beloved founding artistic director at the much beloved Mosaic Theater on H Street, writes in program notes that he finds hope in this show.  I am happy he found it; I am still searching.

The protagonist (Musa Gurnis is Isabelle) challenges "the heteronormative, white-male-dominated film canon she is charged to teach," Ari writes. Pity white males.

Norman Yeung, a man of many artistic persuasions (playwright, filmmaker, artist, actor) won a 2015 Canadian national playwriting contest for Theory which is billed as a “techno-thriller,” but the action doesn’t really get going until the last scene.

Then (finally!) Isabelle suddenly develops strength of character and a new person emerges, stronger and better possessed of her faculties in contrast to the mousy do-gooder she acts in most of the drama, trying to be all things to all students, unleashing the class to become
whatever it wants to be.

In Yeung's play, the roles reverse: The students teach, and the dull teacher/student learns the hard way that students need structure, after all.

Suspense gradually builds but not enough to introduce the sudden departure from its gait to the pace presented at the end.

The weak link in this chain of events is the main character, Isabelle.

She is married to a lesbian, of course. (Andrea Harris Smith  is Lee, her wife.)  This is modern-day stuff.

Isabelle's syllabus says nothing is off-limits to post for the class, including murder, mayhem, and violent sex

That is, until certain words becomes too much for her wife to bear, and the original deal is scraped by Teacher Isabelle who changes the rules of this game.

Dynamic performances by all the students  (Josh Adams, Benairen Kane, Camilo Linares) lift the show, especially Tyasia Velines whose animation, arms, and exclamations earn her standout status.


Also in the cast is Tony K. Nam in a realistic and concerning portrayal as Isabelle's department head.


The stage and lighting are segregated by scene in a well-executed design by Daniel Ettinger with lighting by Brittany Shemuga. The classroom and desks sit in the upper left corner with stage center reserved for the living quarters of Isabelle and Lee. 

The far right transitions from a school to home office and back again, complete with a plant merry-go-round which, after the third movement or so, becomes a distraction and you are left wondering if it's the home or the school office that's up next. 

And "devices."  Sigh. They are omnipresent. What's a show without them?  Not a contemporary show.

Director Victoria Murray Baatin, the theater's associate artistic director, makes her Mosaic theater debut with Theory which she discovered on the last night of a travel grant to Canada. 

Dylan Uremovich does a nice job with simultaneous projections on different-sized screens.

Other members of the crew are Danielle Preston, costumes;
David Lamont Wilson, sound; Willow Watson, properties; April Sizemore-Barber, dramaturg; April E. Carter and Laurel VanLandingham, stage managers; Ashara Crutchfield, assistant director; and Paul Gallagher, fight choreographer.

What: Theory

When: Now through Nov. 17 at 8 p.m. from Wednesday through Saturday; 3 p.m. on Saturday and Sunday; and 7:30 p.m., Sunday, Nov. 10. 


Where: Mosaic Theater Company, Atlas Performing Arts Center, 1333 H Street NE, Washington, D.C. 20002

Getting there: Riding public transportation from Union Station on the streetcar is easy and free, if you can find the streetcar behind Union Station where signage to the streetcar is poor. Valet and parking options are available. Move. (For late-night streetcar rides, the 
show may go on.)

Tickets start at $20.

Language: Adult

Duration: 85 minutes without intermission


Post-show discussions:  Saturday, Nov. 9, 3 p.m.;
Sunday, Nov. 10, 3 p.m.Thursday, Nov. 14, 11 a.m. (cast talkback); and Saturday, Nov. 16, 3 p.m.

Open-captioned performances: Friday, Nov. 15 at 8 p.m. and Saturday, Nov. 16 at 3 p.m. and 8 p.m. 

For more information: Please call the box office and leave a message: 202-399-7993, ext. 2.


*by Mary Louise Schumacher, art critic, at the American Art Museum

patricialesli@gmail.com




Sunday, November 3, 2019

Nancy Pelosi was at National Geographic


Speaker of the U.S. House of Representatives Nancy Pelosi at National Geographic, Oct. 23, 2019/photo by Patricia Leslie

It was the day of her brother's funeral but still, the Speaker of the House, Nancy Pelosi, the third most powerful person in the United States, kept her date at National Geographic to help launch the institution's new exhibition, Women: A Century of Change.

In National Geographic's auditorium, Ms. Pelosi addressed hundreds who stood and applauded when she entered and who stood and applauded when she left. The speaker noted that her daughters, Alexandra and Nancy, were present.

In conversation with Susan Goldberg who is the editorial director of National Geographic's publications and the first female editor-in-chief of the magazine, Speaker Pelosi talked informally about her entry into public life and, based on her experiences, she had some recommendations for those who may consider it.

At first in the public arena, she was shy.  The "best advice" she has for those listening: "Be yourself" and ask: "What is your 'why'?"

Ms. Pelosi was first elected to Congress in 1987 when only 23 of 435 representatives were women.  Now, there are 102, and some are Republicans. "We need more women" in Congress, she said.  There is no glass ceiling.
 
When she was first elected speaker in 2007 (and again in 2009 and 2019), George Bush was president, and she said then:  "At last, we have a woman at the table.

"There need to be many women at the table," she said to applause.

When members of the audience weren't clapping, they sat spellbound.
Speaker of the U.S. House of Representatives Nancy Pelosi with National Geographic's Susan Goldberg, Oct. 23, 2019/Photo by Patricia Leslie
 
Speaker Pelosi and Ms. Goldberg sat in front of a few enlarged photographs from Ms. Pelosi's life which included the "Mona Lisa" of political Washington, the photograph of Speaker Pelosi taking command at a White House meeting last month with President Trump and other men seated at a large table.
Speaker Pelosi chats with National Geographic's Susan Goldberg with a famous photograph as backdrop, Oct. 23, 2019/Photo by Patricia Leslie

George Washington appointed Commander in Chief at the Second Continental Congress, June 19, 1775, Philadelphia/Library of Congress, Wikimedia Commons

Ms. Pelosi laughed a lot and was obviously comfortable in the surroundings. She looks better in real life than she does in photographs or on television.
 
"You have to be ready to take a punch," she laughed and the audience laughed with her.  
In one form or another, she recommended that those listening "follow your passion."
Speaker Pelosi chats with National Geographic's Susan Goldberg Oct. 23, 2019 in front of a photograph of Speaker Pelosi with her mother/Photo by Patricia Leslie


If she ruled the world, "the one thing" she would do: "Educate women and girls." 



"Anything is possible. When women succeed, the world succeeds," and the audience loudly proclaimed its agreement as Speaker Pelosi exited the stage.
 
Women: A Century of Change opens at National Geographic/photo by Patricia Leslie
Women: A Century of Change opens at National Geographic/photo by Patricia Leslie


The National Exhibition exhibition features its photographs of women from the last century. A separate gallery is devoted to 24 women who herald the future and includes Speaker Pelosi and Christine LaGarde.

Every attendee at the launch event received a copy of the new National Geographic magazine which features the exhibition and begins a year of women's coverage to celebrate the 100th anniversary of women getting the right to vote in 1920.

What: "Women: A Century of Change illuminates, celebrates and reflects on where the world’s women have been, where they are now and where they are going."

When: 10 a.m. - 6 p.m. daily through Spring, 2020. The last ticket is sold at 5 p.m.

Where: National Geographic, 1145 17th Street, NW, Washington, D.C. 20036

Tickets: Adults: $15; seniors, military, students: $12; children ages 5-12, $10; children under age 5 are admitted free. No charge for contributing members.
 

Closest Metro stations: Farragut West (Orange Line) and Farragut North (Red Line)

For more information: 202-857-7700

patricialesli@gmail.com