Washington National Opera Kennedy Center Gala: Trading Voices

Tonight's event was the Washington National Opera Gala Concert titled: Trading Voices featuring luminaries from both the Opera and Broadway stages and headlined by Aretha Franklin.  The event was part of an evening fundraiser that included for many of the guest after concert diners at one of about 20 Embassies from Finland to Japan and Australia to Russia.  There was also a moment to honor the retirement of WNO Board of Director's Chairman and holder of the Mars Inc. Candy Bar fortunes, Jacqueline Badger-Mars.  The point to raise money and the whole experience raised over 2.3 million dollars for the WNO.  Bravo! 

But to quote one of my favorite lines from Truman Capote's seminal work "Christmas Memory": "I am disappointed!  Who wouldn't be?"  For you see there was no Aretha Franklin, and no explanation as to why she was not there.  Since there wasn't even a moment a silence, I assume she didn't die.  I bought my ticket on the thrill of seeing her perform in the flesh--and her absence was a huge letdown for me. 

This doesn't mean that the rest of the evening wasn't amazing.  It was.  They brought in Cynthia Erivo to sing in her place, and I know she's all the current rage--but she's no Aretha.  Local favorite contralto extraordinaire, Denyce Graves, international Opera star, Rene Fleming and a local phenom and product of the WNO Cafritz Education Initiative, Solomon Howard represented the opera side of the slate, with Jordan Donica, Leslie Odom Jr. and Erivo representing Broadway.  Brian Stokes Mitchell played host and performed, as well.  Highlights included Solomon Howard's performance of aria I was unfamiliar with, but under his incredible bass-baritone voice, it was transcendent.  I immediately thought of  Paul Robison and "Old Man River."  The entire row behind me was made up of a group of gay men who chattered before the program started.  Later when the conductor announced that the next number would be "Old Man River" they all gasped and a couple said in low voices, "Solomon"...  but the announcer went on to introduce Denyce Graves.  Solomon was the only performer to only get a single number.  Rene Fleming brought the house down with a performance of "O Mio Caro Bambino."  Leslie Odom Jr. sang a throw away song that were drowned out by the WNO Orchestra, very disappointing, and then he recovered for a number from "Hamiton".  But Jordan Donica?  OMG--what a tall glass of water that man is!  And his two appearances on stage were both stunning.  The second was a performance of "The Music of the Night" from Phantom of the Opera. 

The performances that I experienced were mostly amazing.  The one I was told to expect and then didn't happen is the one that hung over the experience like a damp rag.

Brian Stokes Mitchell performing a number from "Progy & Bess"--"It Ain't Necessarily So".

Jordan Donica performing his opening number.

Leslie Odom Jr. performing a number from "Hamilton" the show he won a Tony in

The Final Bow

At one point luminaries were pointed out:  Supreme Court Justice Samuel Alito, drew applause, Senator Patrick Leahy of Vermont, got a more robust acknowledgement.  Then Mick Mulvanney, the head of Trump's Budget Office and architect of the raping of America's arts funding to give the uber rich a tax cut was named and the moans were pretty much equal with the applause.  Finally, Secretary of Housing and Urban Development, Ben Carson was named and the applause fell flat, the moans winning out. 

Washington National Opera: "Champion"

Round two--most appropriately, was "Champion" an Opera by Terrance Blanchard and Michael Cristofer about the life of Boxer Emile Griffith. The focal moment of the Opera is when Griffith, a closeted Homosexual kills one of his opponent’s, the Cuban boxer Benny Paret, after it's clear that Paret has been tormenting Griffith for his Homosexuality. The production uses the convention of an elderly Griffith in the throws of dementia fading in and out of the past up to a culminated moment when he meets Paret's son, Benny, Jr. and cannot distinguish the son from the man he has killed and seeks forgiveness. Here are my thoughts:

1) Opera! I often listen to the Metropolitan broadcasts on Saturday afternoons over the radio. I get how contemporary composers do not want to be labeled as derivative of the classical composers from Mozart to Wagner, Beethoven to Verdi. I get that. But what happens is a lack of melody and a fairly lame libretto. There are moments of clarity and even profundity akin to the medium, but in between is just a lot of dissonance.

2) Beefcake alert! The vast majority of this Opera troop is a "P x90" fitness commercial in the wings! Men and women alike were not just svelte but buff. Lots of eye candy to get you through the discord.

3) The show was preceded by a statement from the Washington National Opera's Artistic Director that took no prisoners over the opera's subject matter and the need to tell the stories of diversity. As fate would have it, I made to new friends in my section: Betty and Eunice--Black women of a certain age who were more than happy to tell me about their memories of this historical event. Both were nurses who worked on the front lines of the AIDs epidemic and one has a gay son just a little younger than I. They were delightful! I may go to the theater alone, but one way or another, I am never alone when I'm there.

4) Bravissimos all around for the principals Arthur Woodley, Aubrey Allicock, Denyce Graves and Victor Ryan Robertson. Victor wins extra accolades for singing a rather demanding duet while jumping rope as vigorously as any double-Dutching school girls. It was awe-inspiring.

5) Finally, the lyrics were graphic and blunt and words like Maricon, and very sexually explicit acts were sung. The lyrics were also projected on a screen over the stage--a common practice with Operas nowadays. But whenever the word fuck was used it was truncated! It wasn't bleeped. It was clear as day when spoken or sung. But it was displayed like this: "F--k," "F--king," "Mother-F--king," "Ass-F--king," "Butt F--king," "F--k my Butt!" I mean, really! What the Fuck was up with that!?  There were also two other words with omitted letters, "c--ksucker," and "c--ksucking."  It's a wonder they didn't spell the name of the actor in the co-principle role of the young Emile Griffith, Aubrey "Allic--k"!  

The Young Emile Griffith (Aubrey Allicock) with his coach,  Howie Albert (Wayne Tigges)

The set up for the big fight with and aged Emile (Arthur Woodley) looking down as if upon a dream.  His younger self is on the right in the white trunks and his opponent, Benny Paret (Victor Ryan Robertson) is in the white trunks on the left.

The choreography of this scene was really outstanding and performed in a mock slow motion that gave it a surreal quality.

Emile's mother, Emelda was played by the amazing Denyce Graves, and her aria in the second half

In the Gay Bar that Emilio frequents, Momma Hagan (Meredith Arwady) rules the house with her entourage of Drag Queens.

The darkness of the night and seedy clubs are the only place Emilio finds comfort.  Here with Andrew McLaughlin.

Time To Go "Into The Woods" Again!

Just in from attending the Fiasco Theater Company's touring ensemble of their Off-Broadway revival of Sondheim's "Into The Woods" at the Kennedy Center. WOW! I was the first personal to jump to my feet at the end, but I was not the last. Such a wonderful, high energy reimagining of the original with a pared down cast of 10 actors plus the piano player. Everyone but the Baker assumed two or more rolls. The vocal quality was outstanding across the board and the actors delivered the well-healed lines with a freshness and clarity that made so much of the production feel new and better.

I love this show so much that I was waiting for each song with great anticipation, and highlights included: "Hello Little Girl" performed by Anthony Chatmon II as the Wolf and Lisa Helmi Johanson as Little Red Ridinghood, "There Are Giants In The Sky" performed by Philippe Arroyo as Jack, and "No More" performed by Fred Rose as the Baker's Father and Evan Harrington as the Baker. The later being a surprise as it's not really one of the traditional show stoppers. The most consistently compelling cast members were Philippe Arroyo as Jack, Lisa Helmi Johanson at Little Red Ridinghood/Repunzel and Darick Pead who's Milky White politely stole every scene, and who's Repunzel's Prince and step-sister Florinda also gave you your money's worth. And honestly, everyone was amazing--these folks just had exceptionally good performances tonight.

My Box Seat view of the stage

You can see the sets were a collection of odd backstage objects became everything from a seamstress' dress form transformed to a magical tree where Cinderella's mother was buried to a stage ladder turning into Repunzel's tower. The music was primarily maintained by an onstage piano player who had an occasional narrator's line, but the actors themselves were suddenly playing the cello, or a trumpets, or a banjo or a bassoon! etc. And no one left the stage...they simply faded into the edges and when necessary made seamless costume changes. I have to say, no better way to spend Christmas evening in my book, and I splurged at purchased a box seat so that I would have my own comfortable chair to sit it, too.

As fate would have it, a rather eccentric slightly inebriated women had the chair next to mine... She arrived just before the show started and the gin on her breath sat down four steps before she did. She proceeded to retrieve items from her bag to keep a cocktail of her own concocting going throughout the show, but she was otherwise unobnoxious. I can appreciate a quiet alcoholic.

Washington Choral Society Concert

In my "Year of Living Theatrically" I will occasionally toss in a curve ball.  The past Sunday's Washington Choral Society's performances would certainly qualify.  I was draw to this by the Berlioz Requiem, which I knew was a major work of Choral and Orchestral significance.  I had also heard that the staging would include satellite clusters of Brass players to replicate the original performance in the Cathedral of Notre Dame in Paris.  Many venues do not allow for such an opportunity.  

Going on line to buy my ticket, I went through the usual hoops on the Kennedy Center website and was thrilled to have the last seat smack dab in the center of the 1st tier balcony!  How perfect, eh?

 This was my view of the stage!

 And THIS is where my seat was in reference to the largest satellite Brass section!--like WTF, right?  My seat is the one just beyond the armrest with the program.

 Here I am after the brass players arrived to give a real look at my proximity!  I felt apprehensive about this.  How would it be to sit in front of instrumentalists who would be playing forte most of the time?

As fate would have it a very charming woman sat down next to me and we had a delightful time chatting. She was very put together, very energetic, maybe ten years my senior. She told me about her first European tour after college and how as fate would have it, upon returning the Kennedy Center was being inaugurated with a premiere performance of Bernstein's Requiem on her birthday! Beside herself, she just showed up without a ticket, and in the lobby someone approached her and asked her if she was looking for a ticket. She said yes, and the gentlemen gave her his and disappeared. I never mind going to the Theater alone--something interesting always happens.

We discussed the problem of our seating and at intermission she bid me farewell for a better option somewhere else.   I remained for a time and then realized that she was spot on.  So I also left (as did most of the people sitting in our section).  I went out to the 1 tier lobby and asked an usher to help me.  She was so accommodating and soon I was sitting next to my new friend again!

 Our nearness to our former seats.

Our new view of the stage.

En toto, I would have to say that the first two pieces: 1) the "Wir setzen uno bit Tränen nieder" from the St. Matthew Passion by J.S. Bach and the "Take Him, Earth" requiem by Steven Stucky were amazing and well done.  The Berlioz Requiem was both enthralling and annoying.  Even at our distance the blast of music from the brass distracted and influenced the quality of my experience in a very negative way.  I honestly felt cheated by what else seemed like a magnificent performance.

A Winter's Tale--Why Not?

You know...the older I get the more I want to see and do. I am single and that often means just going for it, right? My latest adventure--after weeks of interest--I have purchased a ticket to see the Royal Canadian Ballet perform "The Winter's Tale" at the Kennedy Center on Sunday, January 24th. It's their closing performance. I expect great things! The next time you think, I want to, but not on my own: remember this--and GO FOR IT! You won't be disappointed.

NSO with Pink Martini, et. al.

 Oh Children! What a night of fun was had by all! First of all, it is an amazing evening in the Capital of the United States. The weather was perfect, 72 with humidity around 60%, it doesn't get any better in mid-September. Next, any night at the Kennedy Center is a treat. But Combine the two as you stand on the patio near to the fountain on the banks of the Potomac River watching the sun set and burnishing the horse tail clouds a golden yellow to pinkish bronze as you watch the pleasure boats make lazy passes on the calm river's surface--and you know, if you don't just revel in this amazing life you have...I'm at a loss as to what else to say.

 With the stage thus set, you then enter the National Concert Hall and prepare for what can only be described as an experience. Just the fact that you are about to enjoy an internationally acclaimed symphony orchestra is worth the price of admission. Now, add to that this most amazing and eclectic jazz/fusion ensemble called Pink Martini from the hipster capital of the world, Portlandia. But wait, there's MORE---what's that you say? The Great-great-grandchildren of Maria and Georg van Trappe! More surprises still!? Stop! You're killing me! Soon to be revealed!

Highlights Little and Big: 


1) I bought a seat in the first level balcony for the first time. It was marvelous. With lots of audience participation, it was a great vantage point, AND it was an actual CHAIR with side arms! LIke I'm sitting in a comfortable chair at home, so not theater seating...I'm forever spoiled I fear. 

2) The evening included songs from Schubert to ABBA sung in English, Spanish, Portuguese, French, Farsi, Arabic, German, Japanese and Swedish! From Cuban love songs and Brazilian Samba to German Drinking songs and an impossible to characterize a cappella original written by the 18 year-old van Trappe prodigy, August (performed by him and his sisters). There were times the audience danced in the aisles and in the last number most formed giant conga lines and bounced all over the theater! All without the aid of alcohol, so far as I could tell. At one point the NSO conductor jumped into the crowd and started jitterbugging with some one in row 6!

3) The van Trappes--holy shit are they ADORABLE! Their harmonies are stunning and they are just beautiful. Three sisters: Amanda, Melanie and Sofia and their baby brother August. I know you're thinking of "The Sound of Music", right? Well the audience was, too. SO, imagine most everyone's surprise (it was nearly audible) when they first came out and August sported a toe-head blond gelled out hairdo worthy of any Japanese anime cartoon, complete with pink highlights and eye shadow!  

4) Surprises? How about NPR's London correspondent, Ari Shapiro, arriving in the second half to croon three numbers--and can that boy sing! A spicy latin number with Pink Martini's China Forbes, a sorrowful ballad of unrequited love from a 19th-century Cuban composer, and then a re-enactment of the "Get Happy/Happy Days are Here Again" 1962 duet between Barbara Streisand and Judy Garland sung again with China! China asked him which part he fancied playing, Barbara or Judy? Ari replied, "I've spent my entire life dreaming of being both of them!" complete with girlish heal kick to the utter delight of the audience! (Oh yah, "Family!").

5) There were THREE encores, and before the first one, Pink Martini's impresario, Thomas Lauderdale, gave homage to two things that have made Pink Martini possible: one, symphony orchestras like the NSO, and two, National Public Radio. Then, he referenced the recent interview with Scott Simon on NPR's Weekend Edition Saturday--and then he turned to the wings and invited Scott Simon to join everyone on the stage! The first encore was a version of "The Lonely Goat Herder" with Scott performing the roll of yodeler! I'm still catching my breath. WHAT JOY!

Peter Pan: Opening Night!

Attended the opening night of the Ballet "Peter Pan" by Septime Webre @ The Kennedy Center on this past Thursday...

 The Kennedy Center is a wonderful place to take in a show. The Ballet I attended tonight, Peter Pan, was great fun. It was delightfully comic and also sweet. The principles were all well balanced and compelling and the ensemble danced beautifully, too. Upon leaving, I over heard one woman say to a friend, "This was SO much better than it's first staging 5 years ago." And I just thought it was great! It's the brainchild of Washington Ballet's Artistic Director Septime Webre--and we are clearly fortunate to have his creative spirit at the helm. He's created other ballets from classic tales like Alice in Wonderland. Next, he's debuting The Legend of Sleep Hollow, and after tonight, I'm planning on seeing it, too.

The Washington Ballet is an interesting group. I am not a devotee of ballet, so I don't know how it measures up with other companies; however, the thing that is striking is its diversity--a richness that stretches beyond tokenism. Members of the company hail from across the United States but also Japan, Cuba, China, Armenia, Albania, Australia, South Africa, Hungary, Brazil, Belarus, Venezuela, South Korea and Ukraine. I like the intentionality of that.

It was also opening night, and I had an aisle seat in the second row. No one arrived to take the seat next to mine--that's a luxury. And the two seats in front of me were used by a sister and brother who were so adorable I nearly risked being called a pervert to get their picture, but alas, I thought better of it, and so my description will have to suffice.

They were completely unaccompanied by any adult, and as non-chalant by this as if they owned the place. I, in fact, never saw them interact with any adults. She was 9 and dressed up like Wendy with a wreath of flowers in her hair and ribbons trailing. He was 7 with long locks of blond hair that caused another patron in the front row who arrived after them to ask if you "girls" could made room for them to pass. The little girl instructed her brother how he needed to step into the aisle and then she politely, but firmly announced to the women, "He's a boy." And what a boy! A boy who was not intending to grow up!--dressed in complete and impressive Peter Pan costume right down to a brass studded brown cape and green yeoman's cap with a bright red feather. Before the performance started, she read and explained the entire synopsis from the program to him, and he listened intently. To use a phrase I do enjoy, "They were totes adorb!"

 

Pre-Birthday Celebration!

At the time of my 50th birthday, my dear friend Perri took me to the Kennedy Center to see the Broadway touring company production of "South Pacific." It was marvelous!

Today, for my 51st birthday, we again rendezvoused at the Kennedy Center here in DC for the Broadway touring company production of "La Cage Aux Folles". Everyone deserves such a wonderful friend, n'est pas?

Unlike "South Pacific" I knew virtually nothing about the musical version of La Cage. Sometimes that's the best way to experience something, sans espérance.

The leads were in the hands of George Hamilton and Christopher Seiber. I was a little surprised to learn that George was still alive!--truth in blogging--and I'd never heard of Monsieur Sieber before. The result? George was très charming, managed to hit all of his cues and was actually quite funny at times. I also thought that at times during the second act he was 'tired' in moments when he wasn't doing anything specific in a scene. But Christopher Seiber was dynamite! He rose to and above the occasion without any hint of anything but tenderness toward the older Hamilton. In a word, He was Fabulous! and the chemistry between he and George was very sweet.

The production was held in the Eisenhower Theater which was just perfect. It's a more intimate setting and the production was from the onset very audience interactive. Our seats were in row five from the stage smack dab in the middle. Any closer and I would have strained my neck.

Can my 52nd birthday be better? Peut-être!?

South Pacific!

Here's something wonderfully coincidental: The Kennedy Center for the Performing Arts and ME are celebrating our 50th anniversary of existence in 2011. And I'd have to say that after half a century we've both seen our nicks and scrapes and neither one worse for the wear! Ergo, every month's playbill in 2011 will feature this image of JFK's inauguration. Cool, eh?

Just a little preamble to the fact that I attended the Broadway touring company production of "South Pacific" this afternoon as the guest of my dear friend PMS. (PMS are her initials not
her state of mind!)

It was a delightful production of a play that really hinges on one performance: Ensign Nellie Forbush. And I am happy to report that it succeeded grandly thanks to Actor Carmen Cusack. To the performance's credit the work of David Pittsinger as French plantation owner Emile de Becque was very up to par. His rendition of "This Nearly Was Mine" was the show stopper of the afternoon. Both male and female choruses were also grand. And the eye-candy of male nudity in the set up to "Gonna Wash That Man Right Out Of My Hair" was also well appreciated--but I've always been a fan of fresh loaves of bread!

For anyone who has never been to the Kennedy Center, it is a wonderful complex of performing arts theaters for which the Opera House is the most resplendent. I have seen productions in all of the theaters and stages there. Each has it's own charm. As a place of community, it is rivaled by none in Washington, D.C.--though challenged by many.

The grand lobby of the main theatre (the opera house) is watched over by this huge and amazing sculpture of John F. Kennedy.

While I doubt most visitors to Washington include a visit or attendance at a performance, that really is a deficit that can easily be rectified.