Vienna's charming 'Golden Pond'

 

Carolyn Corsano Wong is Ethel, Michael Mehaffey is Norman, and Matteo Hope (on floor) is Billy in Vienna Theatre Company's On Golden Pond/Shayne Gardner, photo

Norman is a grumpy old man. He’s nearing the end of his life, almost 80, and what’s it worth anyway? Life is no fun.

He’s fortunate to have a cheering, enthusiastic wife, Ethel, who’s always helping and encouraging him to look on the bright side of things, why doncha for a change?

After all, here they are again at their lovely summer home in Maine with outdoor scenery to match what surely must be heaven with tall, sweeping pines to reach the clouds, trees which edge the shoreline of the lake whose water movements do seem to wave every now and then (in a set design by Vincent Worthington).

The scene offers beauty and serenity as peaceful as anyone can imagine (to contrast with friction between dad and child soon to screen).

This environment is all part of On Golden Pond presented by the Vienna Theatre Company at the Vienna Community Center, the play certain to remind those of a certain age of the 1981 movie by the same name which followed the play and starred Jane Fonda with her father, Henry Fonda, and Katherine Hepburn, the daughter and father experiencing their own interpersonal struggles in real life.

At the show, nothing seems to be working right now for Norman (Michael Mehaffey), not even that confounded screened door, constantly falling off its hinges, much like Norman himself.

"We're not getting any younger, Ethel!"

Hold it!

Well here comes their daughter, Chelsea (Deena Walter) stopping by to wish her old man a happy birthday, accompanied by her fiancé, Bill (Will Jarred) who's towing his teenaged son, Billy (Matteo Hope).

"Oh, say! Mom and Dad, would you mind watching Billy for a few days while we take off for Europe?"

Gulp, sure daughter, not exactly what we had in mind for our stay here, but whatever makes you happy! Don't mind us.

Turns out, Billy is the gift that keeps on giving, who turns Norman's key to more spring in his step. While the lovebirds are off galavanting across the pond, Billy and Norman are developing their own repartee which becomes the subject of envy when Chelsea returns to Maine and tries to improve her relationship with her dad who's a tad lost.

Director Terri Ritchey has no trouble convincing the audience that Mehaffey's droll and gait make him certifiably "old," while his mate, the energetic and sunny Carolyn Corsano Wong, shines as the opposite.

Zell Murphy is the longtime friend and postman, Charlie, who drops in every so often to reminisce about old times and lighten the mood which, like life, has its ups and downs.
Shayne Gardner is the dynamic telephone operator.

Whatever your age and your spirits, they will be brightened by the message found at this summer home: To count your blessings, hug your loved ones, and celebrate each day as if it were the last which Norman realizes before it is.

Other production team members are Reece Smyth and Pete Storck, producers; Erika Horton and Bob Jordan, co-directors; Sprite Briner, make up and hair; Linda Comer,
properties; Jason Crosby,master carpenter;
Peter Ponzini, lighting; David Ritchey, stage manager; Sue Ellen Smoot, set dressing; Lelah Sullivan, costumes; Wil Taft, sound; Steven Wong, back stage manager; and the playwright, Ernest Thompson.


On Golden Pond  is presented Fridays and Saturdays at 8 p.m., Sundays at 2 p.m. through November 5, 2023 at the Vienna Community Center, 120 Cherry St., Vienna, VA 22180 (703) 255-6360. Tickets, $15. For more information: vtcshows@yahoo.com


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Olney's ghoulish gal terrified us all

From left, Lolita Marie, Tommy Bo, and Eymard Cabling in The Brothers Paranormal at Olney Theatre Center/Christopler Mueller, photo

At the Olney Theatre Center during the second act, I was so taken by the story I never lifted my pen to take a note.

The Brothers Paranormal is a Halloween story for the thinker, with a thickening plot, twists and turns that I dare say there is nobody who can accurately predict the outcome. (I deplore predictability. Surprise me every time, please.) 

It begins sweetly enough as Max (Tommy Bo) describes his and his brother's new business of ghost busting to a first customer, Delia (Lolita Marie). To help with family finances, Max and Visarut (Eymard Cabling) have a few tricks to get rid of the weird.

Delia explains why her house needs "cleansing"; crazy things are going on. 

Really?

Is she, or isn’t she, off her rocker?  Maybe, some dementia?  

But, who's to turn down a customer and perhaps reject mental health issues when income is the goal? 

In humorous dialogue, the brothers accept the assignment and away they fly to Delia's house, to scout it out, and meet her husband, Felix (DeJeanette Horne), a loving man who, with Delia, come to steal the show with their acting, palpable chemistry, and dances of mayhem (?).

Every so often the brothers' mother, Tasanee (Cindy Chang) makes an appearance to scold her youngest (Max) for not taking better care of his brother.  Only in the second act does Mom become a little too preachy in a monologue (and for me, in the center of the audience, difficult to hear since she was not directly turned center).

Make up artist (?) weaves an incredible design of hair, makeup and gown for the supernatural Jai (Justine "Icy" Moral) that (or whom) you won't soon forget. 

Olney first time directors, Hallie Gordon and Aria Velz, polish performances with emotion and strength to make audience members writh and feel (temporary) pain. But, hope?  

This is not a happy Halloween show filled with funny characters and whimsy but it carries themes (some, ever so slightly) of love, loss, suicide, addiction, grief, but not enough to create confusion and wonder of "what's going on?"

  

The set includes two parlors, a kitchen and a hospital room, all effectively laid out and designed by Misha Kachman with sudden sounds (expertly crafted by Sarah O'Halloran) to leave you a little jumpy. 

Jim Steinmeyer is illusions consultant; Robert Ramirez, illusions instructor; Minjoo Kim, lighting designer; Jeanette Christensen, costumes; and Ben Walsh, production stage manager. 

Jason Loewith, Olney's artistic director, writes in program notes that the theatre is proud to present its first by a Thai-American playwright, Prince Gomolvilas, with the regional debut of Brothers, close to a masterpiece and, no doubt, to be found on other nearby stages in the future.  

Special events:

Brothers and Sisters Paranormal Trivia Night, Thursday, October 19, 6:30-7:30 PM, Actors Hall, $5.

Ghost Stories with Weldon

Sunday, October 29, 430 to 5:30 PM, 1938 Original Theater, free with RSVP. Weldon Brown is the director of sales who’s been at Olney for 30 years and has scary stories to tell. Come dressed for Halloween! 

What: The Brothers Paranormal

When:  Now through Oct. 29, 2023, Wednesday through Saturday at 7:30 p.m. Saturday and Sunday matinees at 1:30 p.m. 

Where: Mulitz-Gudelsky Theatre Lab at Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832.

Tickets: Start at $50 with discounts for seniors, students, military, and groups. 

Ages: PG-13 and above for intensity and some adult language  

Masks: None required.

Refreshments available which may not be taken to seats.

Parking: Free, lighted and plentiful on-site

Duration:  About two hours with one intermission

Printed programs? You may print your own or buy one for $2 at the theatre.

For more information: 301-924-3400 for the box office or 301-924-4485  

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Anderson House remembers the Sullivans

 

The Sullivan brothers on board USS Juneau: From left, Joseph, Francis, Albert, Madison, and George Sullivan, U.S. Naval Historical Center, created Feb. 14, 1942  on the day of the ship's commissioning/Wikipedia

The 1944 movie, The Sullivans, was renamed, The Fighting Sullivans/From a poster at Anderson House's exhibition, Affairs of State: 118 Years of Diplomacy at Anderson House

Although it's been more than 80 years since the grandfather she never knew died with his four brothers in World War II on the same ship, Kelly Sullivan was unable to stop her tears during her presentation this summer about her famed family at the Anderson House, the home of the American Revolution Institute at the Society of the Cincinnati.

At the event, Ms. Sullivan's tears weren't the only ones which flowed, men's or women's. 

Two of the five Purple Hearts presented at Anderson House in 1944 to Thomas and Alleta Sullivan for their sons' valor in World War II, on display at  Affairs of State: 118 Years of Diplomacy at Anderson House/photo by Patricia Leslie

Kelly Sullivan speaks about her grandfather, Albert Sullivan and his brothers, at an Anderson House lecture/photo by Patricia Leslie

During the Battle of Guadalcanal, the Japanese torpedoed and sunk the USS Juneau on Nov. 13, 1942, eventually killing her grandfather and four uncles, all onboard.

Contrary to widespread belief, there is no legislation prohibiting family members from serving on the same ship, Ms. Sullivan said.

She is the granddaughter of Albert Sullivan, the only brother who was married and had a son, Jimmy, who, with his wife, had Kelly and her brother and sister.

Kelly Sullivan speaks about her grandfather, Albert Sullivan and his brothers, at an Anderson House lecture/photo by Patricia Leslie

The Sullivan Brothers were a close knit band who requested to be on the same ship, which rests still today in the Pacific Ocean, only discovered on St. Patrick's Day, Mar. 17, 2018, by shipwreck explorer, Microsoft's Paul Allen and his crew, Kelly said.

During the war, rumors of the brothers' deaths floated through their hometown of Waterloo, Iowa, until their mother, Alleta Sullivan, finally wrote a moving letter of inquiry to the U. S. Navy. 

While she read her great-grandmother's letter out loud to the audience, Kelly Sullivan stopped every few seconds to catch her breath.

Shortly after Mrs. Sullivan's letter was delivered to the Navy, President Franklin D. Roosevelt answered Mrs. Sullivan on January 13, 1943, confirming the deaths of her sons. 

Now, a museum in Waterloo honors the five men and other veterans, one of several places where the Sullivans are remembered. The U.S. Navy named two destroyers after them; a New York pier is named in their honor, and they were the subject of a 1944 movie, The Sullivans (renamed The Fighting  Sullivans).

Kelly Sullivan asked members of the audience attending the free lecture, to remember the sacrifices which  servicemen and women make daily for the United States and to thank them.

Anderson House, headquarters of the American Revolution Institute of the Society of the Cincinnati/photo by Patricia Leslie

Anderson House, headquarters of the American Revolution Institute of the Society of the Cincinnati/photo by Patricia Leslie

Ms. Sullivan's presentation was part of the exhibition,  Affairs of State: 118 Years of Diplomacy at Anderson House, open to all during regular open hours. (Please see below.)

Although 100 survived the original torpedo and Juneau sinking, when the Navy finally got its paperwork together days later and undertook recovery operations, only 10 crew members were found still alive floating in the water amid hazardous conditions and sharks, according to Wikipedia.

What:  Affairs of State:  118 Years of Diplomacy and Entertaining at Anderson House

When: Now through Dec. 31, 2023, Tuesday - Saturday, 10 a.m. - 4 p.m. and Sunday, 12 - 4 p.m. Closed on major holidays and meetings of the Society of the Cincinnati. Check here.

Where:  Anderson House, 2118 Massachusetts Ave., Washington, D.C. NW 20008

How much:  No charge.

Metro station:  Dupont Circle.  Exit at Q Street/North exit. At the top of the escalator, turn left on Q Street.

For more information: (202) 785-2040 

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Gottlieb's 'Avid Reader' highly recommended for the wordy

Like so many other memoirs, I was led to Avid Reader: A Life (2016) by the obituary of the author, Robert Gottlieb (1931-2023), the exalted editor, writer, and publisher of many modern classical titles and periodicals, including, but not limited to, the renowned LBJ series by Robert Caro, the fifth and last volume already ten plus years in the making. Research takes time, Caro is often quoted as saying.

I did try Cato's The Power Broker (Gottlieb, editor) a while back but knowing little about New York, except a bit about Manhattan, I just couldn't get into it, you know how it is with some books you just can't get into, and thus, laid it aside never to pick it up again. 

In cre a ble!  

But Gottlieb's memoir is another story although filled with many unrecognizable names to me, like reading one of those chapters in the Bible where the names go on and on and on.  Anyway, Avid Reader is a must if there's anyone in the publishing world who has yet to read it. 

Earlier this year at the National Press Club, I saw Gottlieb's daughter, Lizzie (who is frequently referenced in Avid) and her film Turn Every Page  about the writing and working relationship her dad shared with Mr. Caro, a delightful film and relationship which I probably liked better than the book since Mr. Gottlieb comes across in the book as a boorish know-it-all, a conceited and uppity man about town, although he insists he did not like dinners out with friends, partying, did not do sports, but ballet?  Oh, yes.  (For the ballet uninitiated, that part went on too long.) 

He's much more likable in the film. 

In Avid, he spares no gloss when it comes to offering negative commentary about writers like Salman Rushdie, Lillian Ross, Pauline Kael and many more. He often mentions the breakup of friendships.  Quelle surprise!

It must be that if you are anybody in the New York's publishing world, your inclusion in the book is important, good or bad!  (Some press is good press, and bad press is press, and no press is bad! Bad! Bad!) 

It sounds like he was estranged from his first child, Roger, from his first marriage to Muriel Higgins, since Gottlieb seldom mentions him nor does he include Roger in the credits or dedicate his book to his great offsprings like he does Lizzie's sons but what do I know about good family relationships?

Avid Reader is a highly recommended title, but is that a typo with the omission of a closing parenthetical mark midway down on page 78?  

Alas!  He is gone!

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National Gallery's curator talks Philip Guston

Philip Guston, Painting, Smoking, Eating (detail), 1973, collection of the Stedelijk Museum, Amsterdam 

Close your eyes and visualize for a moment stubby fingers and heads, cigarette butts, an eyeball here, some shoes over there, a lightbulb, flabby, cartoonish fleshly colored characters and parts and what or who comes to mind?

Just the strange world of Philip Guston (1913-1980) whose 225 art works are set to leave the National Gallery of Art on August 27 after a five-months' stay.

Martial Memory, 1941, oil on canvas, Saint Louis Art Museum, Eliza McMillan T

Philip Guston, Martial Memory, 1941, Saint Louis Art Museum, Eliza McMillan Trust.

HauMartial M emory, 1941, oil on canvas, Sainrt Resource, 

Philip Guston, Passage, 1957–1958, The Museum of Fine Arts, Houston, Bequest of Caroline Wiess Law.

The NGA calls him "one of America's greatest modern painters....[and] one of America's most influential modern artists" and has devoted 17,640 square feet of exhibition space on two floors in its East Building for Philip Guston Now.

The arrangements are laid out chronologically following  Guston's style changes, according to Harry Cooper, the Gallery's senior curator and head of the department of modern and contemporary art, who organized the Washington presentation.

"I wanted to tell Guston’s story and show his development as clearly as possible," Cooper emailed.

The Guston show has already run at the Museums of Fine Art in Houston and Boston and when it leaves Washington, will travel to the Tate Modern, London, for its last venue.

Each of the four places approached their presentation of the exhibition differently, Cooper noted.

Philip Guston, Untitled, 1964, National Gallery of Art, Gift of Musa Guston Mayer.

Philip Guston, Untitled, 1968, oil on panel, private collection.

Interest in Guston has grown since the four museums postponed the show scheduled for 2020 because of Guston's Ku Klux Klan works and the clash with culture and turmoil sweeping the U.S. then, largely as a result of the murder in Minneapolis of George Floyd the same year.

Some 2,600 artists protested the postponement. The National Gallery has segregated the KKK drawings in a different gallery with signs warning visitors about their content.

Philip Guston, Untitled, 1968, brush and ink, private collection.

Philip Guston, Head II, 1969, charcoal on paper mounted to paperboard, National Gallery of Art, gift of Edward R. Broida.

Philip Guston, The Studio, 1969, promised gift of Musa Guston Mayer to The Metropolitan Museum of Art. Whether this is a self-portrait like the wall copy says, Mr. Cooper wrote: "I might prefer to call it a self-image because it is obviously not a likeness."

Guston's daughter, Musa Guston Mayer (who has the same first name as her mother and Guston's wife), attended the National Gallery's opening and proclaimed it "a gorgeous exhibition; a beautiful show," complimenting Cooper and the NGA staff.

Mayer was "thrilled" the show would hang for "a significant period of time which would not have happened without the postponement." Mayer is also the president and founder of the Guston Foundation which has promised the Gallery her father's complete Richard Nixon drawings which followed his watershed exhibition in 1970 at the Marlborough Gallery in New York.

There his art announced publicly that Guston was eschewing abstract expressionism for cartoonish figures and anti-heroes which Cooper attributes to "pure courage and conviction and  personal/aesthetic necessity."

(And rather than "abstract impressionism," Mr. Cooper wrote that it is "a term that some critics used to describe Philip Guston’s style of a softer abstract expressionism. I find it misleading because he had no interest in most of the Impressionists.")

Only one of Guston's pieces sold at the Marlborough.  (Not to miss: 12 of the original Marlborough 33 works in the separate gallery.)

Harry Cooper addresses the press at the National Gallery of Art, Mar. 2, 2023 with Guston's Dawn, right, and Caught, left, in the background with colors counter to the originals/By Patricia Leslie

Philip Guston, Painter’s Table, 1973, National Gallery of Art, Gift (Partial and Promised) of Ambassador and Mrs. Donald Blinken in memory of Maurice H. Blinken and in honor of the 50th Anniversary of the National Gallery of Art.

Philip Guston,The Ladder (detail), 1978, National  Gallery of Art, Gift of Edward R. Broida. That's Guston's wife's head surfacing on the horizon.

Cooper and Mayer both described Guston's art as "darkening" over time. Said Mayer about her father's change from color to dark colors: "I think it had to do with the darkening times."

Guston had been traumatized by current events, including the Vietnam War; he felt he could not ignore what was happening around him and began a shift from complete abstraction.

In 1968, the year of the Martin Luther King Jr. and Robert F. Kennedy assassinations, Guston started painting hooded figures like members of the Ku Klux Klan which he called "self-portraits … I perceive myself as being behind the hood … The idea of evil fascinated me … I almost tried to imagine that I was living with the Klan." 

He is quoted in the catalog and on a Gallery wall:

“So when the 60s came along I was feeling split. Schizophrenic. The [Vietnam] war, what was happening to [in] America, the brutality of the world. What kind of man am I, sitting at home, reading magazines, going into [a] frustrated fury about everything – and then going into my studio to adjust a red to a blue."

The Marlborough criticism sent Guston packing to Italy for eight months when, upon returning to the U.S. and inspired by his friend, Philip Roth's novel, Our Gang, the artist began work on his Richard Nixon series.

They are 73 drawings which satirize the president and his henchmen, Henry Kissinger, John Mitchell, and Spiro Agnew, all completed in one year, 1971. The National Gallery has the entirety of the set on the walls on the main East Building floor.

When you go, enter the gallery on your right and circle, ending on the left with "Nixon cookie," "Spiro's Sponge Cake," and "Kissinger Pot Pie." (Those are not to miss!)

Guston planned to make the drawings into a book but held back. Finally, 21 years after his death, they came out in an exhibition and release of Philip Guston's Poor Richard by Deborah Bricker Balken, the University of Chicago Press. (A new edition, Poor Richard by Philip Guston with afterword by Mr. Cooper, is available.**)

Philip Guston, Poor Richard entrance, National Gallery of Art. In the center is Guston's San Clemente, Nixon's escape place after he resigned in 1974. It's the only painting  Guston made of the former president. See below/By Patricia Leslie

Philip Guston, San Clemente, 1975, Glenstone Museum. The wall label notes that Nixon has some pencils in his pocket, possibly a signal from the artist who may have sympathized with a celebrity under fire whose leg is bandaged from ill effects of phlebitis and Washington's attacks. 

Philip Guston, Poor Richard (no. 52), 1971, ink , the Guston Foundation, promised gift to the National Gallery of Art by Musa Guston Mayer. Guston's tatoos on Nixon's arms were prescient,  about 50 years ahead of the tatoo craze.

Philip Guston, Poor Richard (no. 46), 1971, ink , the Guston Foundation, promised gift to the National Gallery of Art by Musa Guston Mayer. Nixon in black face, patronizing black Americans with Spiro Agnew on left, and Henry Kissinger (or is that John Mitchell?), center. Notice hanging objects.

Philip Guston, Poor Richard (no. 37), 1971, ink , the Guston Foundation, promised gift to the National Gallery of Art by Musa Guston Mayer. In center left near the bottom are small letters with the words "Key Biscayne  Aug. 1971". Sink or swim?  Looks like Nixon and Kissinger are sinking, caught by the throes of the monster above, themselves?

At Poor Richard by Philip Guston, National Gallery of Art, Washington/By Patricia Leslie

Musa Guston Mayer welcomes guests to the Guston exhibition at the National Gallery of Art, Mar. 2, 2023/By Patricia Leslie

Guston was born in Canada in 1913 where his parents had fled in 1905 to escape persecution in Ukraine.

When Philip was 10, the family moved to Los Angeles where, unable to find work, Guston's father committed suicide by hanging in the same year as the family's move. Whether Philip's mother or Philip himself found his father is debated.  According to the catalog's chronology, a few years later found Philip withdrawing to a closet with a single light bulb to read and to draw when family members came calling.   

Nine years later his brother died in a car accident.

When asked whether his father's death affected Guston's art, Cooper replied:

"Deeply. Look at the essay I wrote for the catalogue of the 2000 Yale-Harvard show, which was reprinted in the journal October. [Not easily accessible.] Most basically, I think his interest in hanging things (light bulbs, pull cords on shades) refers back to this trauma."

Once you are made aware of these objects and their connections to Guston's past, they seem to appear in almost every piece of his art.

Although several references, including label copy at the exhibition, say Guston was self-taught, Dr. Cooper said Guston "is not self-taught. He went to an arts high school (where he was friends with Jackson Pollock) and then went to Otis College of Art and Design for a few months."


Wikipedia says that at Los Angeles Manual Arts High School, he and Pollock protested the school's emphasis on sports vs. art and both were expelled, however, the catalog says only Pollock was caught and expelled but later graduated. Guston's graduation is not listed in the catalog.

Encouraged by Pollack to move east, Mr. Guston relocated to New York in 1936 where he quickly found work for the Federal Art Project as a muralist. Later, he joined abstract expressionists to create art representing the unconscious rather than reality or "inner" concepts rather than "outer" concepts.

Forty institutions and private collectors loaned art for the show, but the National Gallery has up 30 more than any of the other showplaces, including Guston's last works, single images made in 1980, the year he died. 

In an auditorium at the exhibition, an enthralling documentary, Philip Guston: A Life Lived (58 minutes, 1981), by Michael Blackwood runs continuously and features long interviews with Guston. In it the artist says art flowed from him; he was a mere vessel of transmittal.

The highest price ever paid for a Guston work was $25.8 million at Christie’s in 2013 for the abstract painting To Fellini (1958). His Smoking II (1973) sold for $7.65 million at Phillips in New York in 2019, neither of which appears in the show.


The Terra Foundation for American Art is a major sponsor of the international exhibition.

Out of respect for Black History Month in February, the Gallery postponed the opening of the exhibition until March of this year.

*The catalog, Philip Guston Now ($65), sold in the gift shops, is hardcover with 280 pages, most in color, a comprehensive chronology of Guston's life, and the lead essay by Harry Cooper.

**Also see Poor Richard by Philip Guston, $21, paperback, 73 drawings which Amazon calls " a monument of contemporary satirical art and virtuoso drawing."

What: Philip Guston Now

When: Through August 27, 2023. The National Gallery hours are 10 a.m. - 5 p.m. daily.

Where: East Building Concourse and Ground Floor, 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


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