Gary Tischler • November 23, 2011

When we think of depression-era- and- beyond documentary photography, people probably don’t think of Louise Rosskam, except maybe in context of her better known husband Ed with whom she worked.

You might think, instead of Dorothea Lange perhaps, or Walker Evans and his collaboration with James Agee on “Let Us Now Praise Famous Men.”

The Rosskams worked for institutions and corporations like the Farm Security Administration, the Office of War Information, the U.S. Treasury Department, the Standard Oil Company, the Office of Information for Puerto Rico or the New Jersey Department of Education, a client list that might not pique interest or generate excitement.

Yet, “Re-Viewing Documentary: The Photographic Life of Louise Rosskam,” part of a group of eclectic exhibitions currently at American University’s Katzen Arts Center, places Louise Rosskam among her better-known peers and contemporaries, all of whom displayed a photographic eye which mixed technical and professional acumen with empathy, a willingness to see and search for meaning in the image before shooting it.

Rosskam’s subjects in this exhibition of 150 photographs are characteristic of the depression-era imagery that has survived, but also go beyond. She and her husband photographed the lives of migrant workers of the kind which today excite controversy and unkind, resentful hearts. Back in the 1920s and 30s they were part of a landscape which included thousands upon thousands of workers—migrant and otherwise—sweating to barely keep food on the table. They traveled all over the country, to New Jersey and to Vermont and to California photographing the people.

There is also a lengthy, generous sampling of their study of life in Puerto Rico during the Depression and after, a land not much looked at in those times and often misunderstood, a U.S. “possession,” not a state. These were times of political stirring, but they were also hard times of poverty and suffering for the poor.

Documentary photography was the province of books, the journalism of photographic essays or case studies, a role that would soon be taken over by television imagery which cares little for emotional power and lot more for talk and melodrama. But in Rosskam’s photos, you can learn more than lifetime’s intake of travel posters—you get the soul of Puerto Rico with her photographs of sugar refineries, a portrait of the family of demonstrators killed in Ponce, framed by a wall full of bullet holes.

More startling, sad and refreshing are her photographs of a Southwest Washington neighborhood in the early 1940s and 1950s which lost its tone and character with the onset of urban renewal projects. Included in this section are haunting color images of Shulman’s Market, a red-brick corner deli with big, red Coca Cola signs, adults and children hanging by the store door, or sitting on stoops in the apartments in the neighborhood.

The powerful accompanying book by Laura Katzman and Beverly W. Brannan is a richly detailed volume that opens up further details on the remarkable careers and lives of the Rosskams, and of Louise in particular, who cared little about personal credit but a lot about the subjects they both photographed.

If you want to know what Louise Rosskam brought to the photographic, documentary table, nothing explains it better than Louise Rosskam herself: “When I got a camera in my hands, I know that I wanted to take a nicely balanced picture, with a theme….but I wanted to get people to understand what that woman holding that child, without enough to eat, felt; and therefore I waited before I took the picture—till the ultimate of her emotions seemed to show, and then quickly got a picture…I wanted to feel that, and get other people to feel it.”

You can see from her photographs at the Katzen exhibition that she got it right.

(“Re-Viewing Documentary: The Photographic Life of Louise Rosskam” is at the Katzen Arts Center through Dec. 14.)

Gary Tischler • November 21, 2011

Culturally speaking, Robert Aubry Davis is big.

If this city ever appointed a minister of culture, someone who represents what it is to be a Washingtonian to the world, Davis would be perfect for the job. He’s already been doing it, unofficially but regularly, for decades.

Generous to a fault with his voluminous knowledge about all things cultural, be it medieval lutes, lines from the poetry of John Keats, or folk music both modern and anonymous, Davis is the cultural promoter par excellence. The longer he lives, the more he knows and does, and the Washington cultural scene is all the better for it. Of course, there are some people, having just been exposed to a flood of Davis erudition, that walk away exhausted.

Somewhere, sometime, if you’ve been around long enough, you’ve heard the name Robert Aubry Davis. Maybe you’ve heard him on “Symphony Hall “and “Pops,” the classical channels on Sirius XM. He’s also program director for the folk channel “The Village.” He produces and hosts “Millennium of Music,” now in its 33rd year on public radio. For the past 26 years, he has been the erudite and personable host of “Around Town,” a forum of Washington area critics discussing all manners of local art on WETA. You can also find him cajoling, guilt tripping, and congenially prodding for donations at WETA’s pledge drives.

His manner is at once imperious but outgoing, partly because he is a large man who speaks English with an unquiet voice that elongates vowels and nails consonants with precision. What you’re really getting is his enthusiasms, his expertise, and his ravenous hunger to explain and learn at the same time. At some point, he just bowls you over.

As an arts writer, I do a little cultural stuff myself, and one thing I know is that wherever I go, more often than not Davis is there too. Whether it’s an exhibition opening at the National Gallery of Art, opening night at the Shakespeare Theatre Company, the opera or a 12th century lute performance, David is there.

He’s also a very brave man, by my way of thinking. Drop by Shirlington sometime during the run of Signature Theater’s holiday production of the musical version of John Waters’ “Hairspray” (Nov. 21 – Jan. 29), and Davis will be there. But you might have trouble recognizing him.

Davis is playing Edna Turnblad, the large, nervous, overly protective mother of the hit Broadway musical, which won eight Tony’s in 2003.

“I thought Robert would be perfect for the part,” said Signature Artistic Director and founder Eric Schaeffer. “He has a personality, he has charisma, everybody knows him, it’s a great part—I think that would appeal to him.”

In an interview with BroadwayWorld.com announcing the casting, Davis said, in true form, “Eric Schaeffer, has, like a tomb raider of old, decided to wake the sleeping thespian long buried in my breast.”

“To tell you the truth, I thought, No,” he said. “I haven’t been on stage since, I don’t know, college—which was a long time ago. I thought this was crazy. But the more I thought about it, the more I thought I could do this. But still, starting with rehearsal, waiting to go on, doing the day-to-day work, it’s a little frightening.

“It confirms what I already knew but not so viscerally,” he said. “Something like this, a theater piece itself, is hard, hard work. It’s unbelievably hard. It reconfirms my respect for everyone involved in theater and for the group of people who are doing this with me and helping me. They’ve been incredible. And I am enjoying myself.”

“Hairspray,” for the uninitiated, is a story that originated from the eccentric mind of world renowned filmmaker John Waters, a Baltimore native, who made a movie version that served as the source material for the ensuing musical. It’s about a spunky, plus-size Baltimore teenager named Tracy Turnblad who wins a spot on “The Corny Collins Show,” a local teen dance show a la American Bandstand. But as the promo suggests: “Can a plus-size trendsetter in dance and fashion vanquish the program’s reigning princess, win the heart of heartthrob Link Larkin and integrate a television show without denting her ‘do’?”

And can Tracy’s mother Edna overcome her own shyness and insecurity—she hardly ever goes outside—and join her daughter in the spotlight?

And there’s one more thing. Edna is written to be played by a man. And in this case, Davis is that man.

Davis will be walking in the high heeled footsteps of some formidable men: the late, acclaimed drag queen Divine from Waters’ original cult film, the gravelly-voiced Harvey Fierstein, and superstar John Travolta, who played Edna in the film version of the musical.

“But I didn’t just want to go up there and pretend to be a woman in big clothes,” Davis said. “I think Edna is a wonderfully maternal person who’s always had trouble with being comfortable in her own skin, with her size, in ways that her daughter doesn’t. I can relate to that. I’m a big person—tall, extra weight—and everybody who’s extra-large or heavy always has to find a way to deal with that… It’s not as difficult for men, but our culture has thin as a kind of ideal for women. So I looked at the maternal side for one thing. My wife and I have two children, and that lets me get a little into my maternal side, which is pretty strong. My son says that he sometimes thinks he has two mothers.”

Of course, this being Robert Aubry Davis, it won’t be Edna 24-7. He will still provide the narration for “A Celtic Christmas” at Dumbarton Methodist Church in Georgetown, (Dec. 3, 4, 10 and 11) as he has for several decades. As music goes, it’s not quite so rarefied as the Gregorian chants that he plays on his radio program, but it’s another display of his passion for old music.

Edna, on the other hand, is a display of something else entirely: a willingness to take on a challenge with gusto and a boundless curiosity for the human heart on display. If experience is knowledge, than Robert Aubry Davis is learning something new under Edna’s makeup, and as is his wont, he’s sharing it with us.

For more information visit Signature-Theatre.org.
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Gary Tischler •

In Washington, we already have a year-round treasure trove of performance venues and offerings.

But you ain’t seen nothing yet. The Christmas holidays prove it, as the D.C. area performance atmosphere becomes downright intense, it’s a true trove of riches.

The holidays are a time for Washington performing arts venues—from the large-scale Kennedy Center or Music Center at Strathmore, to theaters, to smaller arts centers like the Atlas and H Street Playhouse, as well as cultural centers, embassies and churches – to concentrate on serving up Christmas-themed music, plays, songs and dances. We will be up to our mistletoes in Nutcrackers, Scrooges, sugarplum fairies, Christmas carols, Christmas music, Santas and reindeers.

But the holidays are also a time for many area arts venues to serve up something festive and family oriented, big and splashy and entertaining, which may have very little to do with Christmas per se, except for the simple fact that during the holidays, people like to be entertained, lavishly and simply, with heart and feeling.

And even in the holidays, there will always be performances for the cerebral, the agnostic, and perhaps a simmering Scrooge or two among us. Those also will be served by our theaters, as they do the year round.

Herewith, an eclectic preview of what to watch for, relish, anticipate and take a chance on during these holiday days and nights.

IT’S SHOWTIME

‘The Nutcracker’ and ‘A Christmas Carol’

This year, the American Ballet Theater and Artistic Director Kevin McKenzie bring their own version of “The Nutcracker” to the Kennedy Center’s Opera House, with new choreography by Alexei Ratmansky, with sets by Richard Hudson of “The Lion King” fame, a cast of 100 dancers and a live orchestra. Dec. 8 through 11.

Septime Webre will stage his and the Washington Ballet’s version of “The Nutcracker” at the Warner Theater. This production will also have the Washington Ballet’s Nutcracker Orchestra. Dec. 1 through 24. Previews at the THEARC Theater in Southeast D.C. Nov. 25 through 27.

There’s no cast of hundreds in the Puppet Company Playhouse production of “The Nutcracker” but there’s plenty of imagination. Nov. 25 through Dec. 31. Check the Puppet Company’s website for more information at ThePuppetcop.org.

The Ford Theater’s production of “A Christmas Carol” is an adaptation by Michael Wilson and is directed by Michael Baron. Edward Gero, one of the great mainstays in the firmament of Washington stage stars returns as Scrooge. For more information, go to Fordstheatre.org/event/2011-christmas-carol. Nov. 18 through Dec. 13.

‘Black Nativity’

A most welcome event is the Theater Alliance’s production of Stephawn Stephens and Langston Hughes’ “Black Nativity,” a re-telling of the Nativity from an African American perspective, which features gospel music, griot-style storytelling and dance at the H Street Playhouse. Dec. 3 through 31.

‘’Twas the Night before Christmas’

Adventure Theater, on its 60th anniversary, is presenting the world premiere of Ken Ludwig’s “Twas the Night Before Christmas.” “Night” is directed by former Round House Artistic Director Jerry Whiddon and stars Gary Sloan. The artistic director of Adventure Theater is Michal Bobbitt. Located at Glen Echo Park. Nov. 18 through Jan. 2.

‘The Santaland Diaries’

The Shop at Fort Fringe, headquarters for the Fringe Festival turns very Christmasy with the staging of “The Santaland Diaries” by David Sedaris, adapted by Joe Mantello, performed by Joe Brack and directed by Matty Griffiths. It’s the tale of Christmas that’s elf-centered and it’s considered a cult classic. Dec. 1 through 24.

FA LA LA LA LA: THE BEST OF THE HOLIDAY MUSIC EVENTS

The Kennedy Center

The National Symphony Orchestra enters the holiday with a classic classical program under the baton of NSO conductor Christoph Eschenbach, with Midori on violin playing Britten’s Violin Concerto at the Concert Hall. Dec. 1 through 3. There’s also the traditional NSO’s performance of Handel’s Messiah. Dec. 15. The annual Messiah Sing Along, which is free and held in front of the Concert Hall takes place Dec. 23. The line begins at 6 p.m. Singing begins at 8 p.m.

Performances at the Millennium Stage include the 36th Annual Merry Tuba Christmas Dec. 7; a performance of Christmas music by local stars Last Train Home Dec. 20; Holiday Vaudeville Dec. 29 and 30; and the All-Star Christmas Day Jazz Jam.

The NSO Pops Orchestra accompanied by the Canadian Tenors in “A Perfect Gift.” Dec. 8 through 11.

CHRISTMAS ALL OVER THE D.C.

The Music Center at Strathmore features a number of Christmas musical events. Skaggs Family Christmas on Dec. 1 features country and bluegrass performer Ricky Skaggs and his extended family. The 5 Browns Holiday Show featuring the renowned piano group will be featured Dec. 2.

The Embassy Series gets a Christmas feel for its second “A Luxembourg Christmas” at the Embassy of Luxembourg in a gala night of music performed by the Quattro Corde String Quartet. Call 202-625-2361 for information or tickets. Dec. 1 through 3.

The Dumbarton Concerts series celebrates the season with “A Celtic Christmas” with The Linn Barnes and Allison Hampton Celtic Consort. Readings by Robert Aubry Davis Dec. 3 and 4 at 4 pm, Dec. 10 at 4 and 8 p.m. and Dec. 11 at 4 p.m. at Dumbarton Church.

The Folger Consort celebrates the holidays at the Folger Elizabethan Theatre with performances of “O Magnum Mysterium,” which features Christmas music from 16th Century Spain. Dec. 9 through 18.

The Christmas Revels, one of Washington’s most popular annual holiday events, will present “Andalusion Treasures,” a brave performance celebration of the fountainhead of tolerance that existed in Andalusia in Spain 1,000 years ago. Guest artists Trio Sefardi and Layali El Andalus will celebrate Arab-Andalusian and Sephardic music. “Andalusian Treasures” will be performed with a cast of 75 Dec. 3 through 4 and 9 through 11 at the George Washington University Auditorium.

The Washington Bach Consort will perform “Christmas in Leipzig” at the National Presbyterian Church Dec. 4 at 3 p.m. Included is a Bach Orchestral Suite and Cantata, and works by Kuhnau and Telemann.
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Gary Tischler •

Marc Kudisch sounded psyched.

“We’re all eager to bring this play to Washington,” Kudisch, who’s appeared at Signature Theater here and who’s a veteran of big Broadway musicals, said in a phone interview from Philadelphia. “Washington is such a great theater town and they audiences here are so responsive, they’re so sharp so I for one can’t wait to see what happens.”

Kudisch is part of the cast of “The Golden Age” by Terrence McNally, which kicks off “Nights at the Opera,” a three-part, five-week presentation by the Kennedy Center in which three of McNally’s plays, all of them with opera themes or focuses, will be performed concurrently on three Kennedy Center Stages.

In addition to “Golden Age,” the festival also includes “The Lisbon Traviata” and “Master Class,” which will star Tyne Daly as the legendary diva Maria Callas. But “Golden Age,” which just completed a world premiere run at the Philadelphia Theater Company, is by far the most newsworthy of the three offerings, given that it’s a new play by the prolific McNally, and that it continues and perhaps completes his theatrical passion for opera.

Kudisch, who’s had some experience with opera and shares the fascination, actually has made his mark in today’s Broadway musical theater, although that’s not what he set out to do. Originally from Hassenback, NJ, “I came to New York as a dramatic actor, I’d never seen myself as a singer, had no intention of doing musicals, I did off-Broadway a lot,” he said.

Then came Birdie. “I got cast as Conrad Birdie, in the Tommy Tune revival of ‘Bye Bye Birdie’ and toured with it,” he said. “That sort of set me on my way.” And then some: “Thoroughly Modern Millie,” “Bells Are Ringing,” “The Wild Party,” “The Scarlet Pimpernel,” “9 to 5,” Sondheim’s dark “Assassins,” “Beauty and the Beast,” “A Little Night Music,” the Signature’s cutting edge musical “The Witches of Eastwick” and as Vincent Van Gogh in “The Highest Yellow.”

“You can really tell how the people that are creating, writing, and composing musicals today are going in new directions,” Kudisch said. “In some ways, that’s what “Golden Age” is all about, except that the characters are Rossini and Bellini and the creative artists who inhabit the world of opera in Paris in 1835. They’re thinking about the same things, new music, how it will be greeted by critics, other artists.”

“Golden Age” is about back-stage doings at the premiere of Bellini’s opera “I Puritani.” Rossini will be heard from and we also hear the Puritani quartet, the four singers who are the stars of the opera, one of them played by Kudisch. “It’s a very personal thing for McNally, and we and he learned a lot from the run in Philly.”

Kudisch thinks the festival is a great idea. “You get a chance to see what I think is some of McNally’s best work,” he said, “and it’s a focus that tells you a lot about his career.”
“Golden Age” will be at the Kennedy Center’s Family Theater March 12-April 4. “The Lisbon Traviata” will be at the Terrace Theater March 20-April 11 and “Master Class” will be at the Eisenhower Theater March 25-April 18.

Upcoming performances:

– There’s new material from playwright Neil LaBute, who tackles contemporary American contentions with gusto, clear-headedness and the impact of a punch in the mouth. LaBute’s latest, “Reasons to be Pretty,” comes to the Studio Theater, which has become a go-to theater with LaBute’s work, and completes his trilogy exploring our obsession with looks and physical beauty, which began with “The Shape of Things” and “Fat Pig,” both hits at the Studio. “Reasons to be Pretty,” directed by David Muse, opens March 24 at the Mead Theater.

– Could there be a more provocative and tempting title than “Andy Warhol: Good for the Jews”? Especially if you’re Jewish, or follow all things Warhol. The D.C. Jewish Community Center has you covered on both issues, with the very same one-man show written and performed by Josh Kornbluth, the popular San Francisco-based monologist who had a hit with “Citizen Josh,” through March 21. The show is based in part on a ground-breaking exhibition of silk screen portraits of prominent Jewish figures by Warhol in 1980, an exhibition which can be seen in the DCJC’s Ann Loeb Bronfman Gallery. “Good for the Jews” runs through May 2.

– “Porgy and Bess,” George Gershwin’s landmark, truly American opera, opens the Washington National Opera’s spring portion of its 2009-2010 season March 20-April 3, with such stirring American classic songs as “Summertime” and “Porgy.”

Read Vera Tilson’s interview with “Porgy and Bess” conductor John Mauceri here.

Gary Tischler •

Rich Bloch is a 60-something labor arbitration attorney, serving most notably as a neutral arbitrator for the National Football League and other professional sports organizations.

Rich Bloch is also a professional magician and a performer.

Both things are true. Bloch likes to keep the two things separate. He does not do magic tricks for 300-pound linemen and their agents.

Nor does he bill himself as a lawyer-magician when he’s performing at the Woolly Mammoth with his show “Best Kept Secrets,” where story-telling, humor and performance blend with Bloch’s finely honed magical abilities and, for want of a better phrase, bag of tricks, which includes card tricks, the famous Harry Anderson’s Last Monte, the world’s fastest tricks, and the assistance of his wife Susan, who is actually a Georgetown University law professor.

“To me, they’re two different worlds, they really are,” Bloch says. He and his wife live on Cathedral Avenue. He has two grown children, both of them attorneys. Also present are a number of pets, cats, a sheepdog, and a giant macaw who reportedly does card tricks.

“Both of the things I love to do — being an attorney, practicing the kind of law I do and being a magician — have enormous rewards, but you can also get frustrated. When that happens, you just pass through a door and go into the other world.

“I simply tell people that 80 percent of my professional life is being an attorney, and 80 percent is being a magician.”

Now that’s magic.

Bloch has been a practicing — and it takes enormous amount of practice, too — magician for several decades, and done well at it. He’s highly respected in a boundless community where magic and all the stuff that goes with it — tricks, equipment, professional secrets, show business and uniforms — are an important part of life. He’s performed on cruise ships, in Las Vegas and regularly at Hollywood’s Magic Castle, where he’s been a five-time nominee as Stage Magician of the Year.

Bloch first got interested when he was seven, which was in New Jersey in a time when cities and towns had magic shops. “I was seven, my father had passed away, and my mother, a remarkable woman, was on the road a lot as a traveling saleslady,” he said. “There was this shop on the corner, and it was a fascinating place, run by this old man, and, because it seemed I had to, I said to him you’ve got to hire me as an assistant. He said, ‘what kind of experience do you have?’ And I said, experience, I’m seven. But then, I remembered I had heard about a magician named Ted Collins, so I said my dad was Ted Collins. He said, ‘that’s impressive,’ and he hired me. And I was walking out, so I asked him his name, and he said, ‘Ted Collins.’

Magic.

“It’s a very special world,” he said. “But it’s more than just tricks and mystery. That’s once reason I’ve been doing this hour and a half show, that’s what it is. And that’s a different world.”

The Woolly Mammoth Theater is known for its edgy new plays, and draws a very different sort of audience than might be found at magic shows. “It’s a challenge, but that’s what I wanted to do, to entertain, to perform, to involve people in the magic show,” he said. “I love the small space, the intimacy and how you can interact with the audience, make them part of the show. I don’t do huge illusions, you can’t, but I do a varied repertoire of magic. I have a lot of equipment, and I wear a white tuxedo suit, one with a lot more pockets than most suits.”

“It’s taking things to the next level for me, and I think the response has been really good,” he said. “Good for me. It’s not the same. It’s not just about tricks, but it is about magic and it is about magic and me.”

In conversation, Bloch is self-deprecating, funny, really smart about his two roles and about magic in culture. He’s given considerable thought and feeling to what he does, and what a magician does.

“There is a difference between tricking people, deceiving them, and in creating illusions, moments of make-believe that seems real because it is,” he said.

Bloch, one thinks, makes magic magical.

“Best Kept Secrets” will be performed at the Woolly Mammoth Laboratory Theater March 31, April 1-4 and June 9-13.

Gary Tischler •

A week ago Tuesday, Denyce Graves was in a car, talking on the phone, heading toward Dulles International Airport to catch a plane that would take her to Turkey.

Graves, the mezzo-soprano superstar of the opera and recital world, had just left the Music Center at Strathmore in Bethesda, where she would be doing a recital on June 13, singing everything from Schumann to Handel to Gershwin.

Meantime, she would be jetting to Turkey to appear in the Mersin Music Festival where, accompanied by the Bikent Symphony Orchestra on May 28, she would sing arias from operas by Bizet and Handel.

The weekend before, she had just completed a grueling three-performances-in-a-row stint in Nashville with the Nashville Symphony’s production of Bartok’s one-act opera “Bluebeard’s Castle,” a production that included sets by glass sculptor Dale Chihuly.

“It’s something I don’t usually do,” she said in a phone interview. “It’s exhausting, it’s hard on the voice. I’m used to a busy schedule, but you have to be careful, you really do.”

Graves, in mid-career at full voice, busy with recitals and opera roles, is as close to an international performing icon as the world of opera and classical music has right now. It’s not just that — she all but owns the leading roles in “Carmen” and “Samson and Delilah,” and is the go-to voice and singer for historic and state occasions, such as the recent funeral for the renowned civil rights leader Dr. Dorothy Height at Washington National Cathedral. Her meteoric rise from what’s been described as an “under-privileged neighborhood” in Southwest Washington still resonates as a shining example of dreams-that-come-true success stories.

She’s a triple threat — local D.C. girl makes good, wows them in her debut as at the Metropolitan Opera, travels constantly all over the world to perform at renowned and classic opera houses and concert halls. She’s the proud mother of five-year-old Ella, and last year married (for the third time) Dr. Robert Montgomery, a renowned John Hopkins heart surgeon, in a spectacular five-day wedding, preceded by a traditional Masai blessing ceremony in Kenya.

She has grown into her fame and status, something that wasn’t always easy to handle. Being a role model is in the mix too: young African Americans look up to her as a measure of just how high you can reach. “That’s important, certainly,” she said. “I remember looking up to Leontyne Price in just the same way, or thinking of Marian Anderson, and everything she had to go through to persevere. And I love working with young people, and make sure they can come and see my performances.”

Probably the biggest role model for Graves remains her mother, now the doting grandmother, who you could hear her talking in the background.
“My mom raised us (there were three children) by herself, our father left us, she worked at UDC, she was the single mother, let me tell you,” she said. “There was no chance of us straying from the straight and narrow. I was a bit of a loner, kind of awkward, I wasn’t what you would call a cool kid.”

But getting into Duke Ellington School for the Arts changed all that. She blossomed there, discovering the wide world of opera and classical music.

“Duke Ellington and Judith Grove, one of my teachers there, was and is a huge part of my success. I discovered myself there, I am eternally grateful for that school,” she said.

Part of the last year’s wedding celebration, in fact, was a day-after picnic on the school grounds in Georgetown. She and her husband live in Bethesda.

She still seems to relish and enjoy compliments, or if someone has a memory of her performances, like seeing her at Mayor Anthony Williams inauguration, Dr. Height’s funeral or a production of “Carmen” at the Washington National Opera last year, where she was a vivid, fiery presence.

Other people’s memories are even better. Here’s a Washington Post response to Graves when she sang at the 70th anniversary celebration at Marian Andersen’s historic 1939 concert at the Lincoln Memorial “Many of the tourists seemed oblivious to the operatic royalty in the midst. But Graves’ voice was so powerful it drew gasps from the audience as she sang.” She sang at the National Cathedral in a stirring and powerful rendition of “America the Beautiful” at a memorial service honoring the 9/11 dead, only three days after the event.

“Mom spoils my daughter rotten,” she said over the phone. “Yes, mother, where’s that drill sergeant we all experienced?” she laughed. “She is a remarkable woman.”

Her summer schedule is hectic. Following the June 13 recital at Strathmore, there’s the Cincinnati Opera 90th Anniversary Gala Concert (June 19), a performance of “Carmen” in Warsaw, Poland, (June 26), and in July there’s the Hohentwiel Festival in Baden-Wurttemberg in Germany, followed by another “Carmen.”

If you start looking over her list of accomplishments, performances, honors and pit stops- — she lived in Paris for a time — you’d think she could even think about resting on her laurels a bit. “No, no,” she said, shaking off the suggestion strongly. “Let me tell you, I’ve got a very big wish list of things I haven’t done, things I want to do, performance-wise, and many other ways too, roles, music to explore, life experience.”

We wrap up the conversation quickly. “I have to go,” she said. “We’re at the airport.”

The Washington Performing Arts Society will present Denyce Graves at Bethesda’s Strathmore Center on June 13 at 7 p.m. Tickets start at $35 and can be purchased here.

Gary Tischler •

Consider “Beat Memories: The Photographs of Allen Ginsberg,” the new photographic exhibition at the National Gallery of Art.

Of course, Ginsberg, the renowned, iconographic, legendary poet laureate of the beat generation and maybe the rock generation that followed, took the photos. Give him credit.

But let’s also give a serious shout-out to Sarah Greenough, the senior curator and head of the department of photography at the National Gallery.

Something about these photos — a mix of snapshots writ large, and later more formal photographs — inspired Greenough. In the end she constructed a work of art out of the 80 photographs on display, a work that’s part biography, part social and literary history and for some viewers, part nostalgic road trip. In an exhibition about poets, full of portraits of poets, she’s managed to come up with a photographic poem very much resembling some of the works of the poets and writers on the wall.

It’s fair to say that the photographs that Ginsberg made aren’t necessarily self-conscious examples of photography as art, and, at least initially, weren’t intended to be. The initial batch of photos were made with a quick-and-easy Kodak, and they allowed the great mad-as-a-fox poet to record a generation of his literary pals, boon companions, rivals, and sometimes lovers who collectively came to be known as the Beats, a word and description that escaped their loose grasp and jumped right out into the American culture at large.

The bulk of the photos are at heart snapshots, quite often made large and dramatic through print, but with all the impetuousness of the moment intact, every one of the mostly men portrayed seem as alive as the moment they were captured, notably Ginsberg himself, not shy about cavorting, doing a naked cartwheel.

The best of the photos are about the Beat arrivals, the moments in time when they became a group, jostling against each other in their travels, exchanging words, sharing their poems, their books, their bodies, their nights and days on the road or on the coasts in New York and San Francisco.

You know who we’re talking about here: Ginsberg, whose masterpiece “Howl” was a spit into the ozone, a regular angry lament against American conformity; Jack Kerouac, the handsome, sullen prince of the road, restless, nervous, who burst on the scene with these words: “I first met Dean not long after my wife and I split up,” the first line of “On the Road”; William Burroughs, the dangerous, lean, mean gun-toting author of “The Naked Lunch”; Neal Cassady, everybody’s favorite daydream and catnip of inspiration.

All of them are here on the wall in a visual flashback to the immediate underbelly of the 1950s, Eisenhower’s decade of normalcy, suburban and small-town morality, a state of the nation which the Beats crashed like escapees from a lunatic asylum. The status quo responded with scorn and fear, but their offspring smelled a whiff of undeniably appealing strange music and noise. They were reflected to some degree in the wild improvisational riffs of Charley Parker, black blues, James Dean and Marlon Brando.

Those photographs from the 1950s are so kinetic — especially in their original snapshot form — that they have a quality that is both holy and holographic: look at Cassidy standing with his girlfriend in front of a Times Square movie marquee, advertising “The Wild One,” “Stranger with a Gun” and “Tarzan the Ape Man.”

These 1950s pictures are a passing parade, and Greenough, in the arrangement of the exhibition and in the descriptive words of her essay in the accompanying catalogue, has set the parade in motion. Fittingly, she quotes Walt Whitman: “Unscrew the locks from the doors!/Unscrew the doors themselves from their jambs!” Ginsberg used the line as an epigraph for “Howl” in 1956.

At heart, Ginsberg, as well as the others, were poets and prose writers of personal experience and reaction, they were every bit as embracing or reactive as everything in “Leaves of Grass.”

While some of the Beats died young or faded, Ginsberg found his way, like a prophet, into the next generation, where he became a sage to Bob Dylan’s followers. It was then that he re-discovered his pictures like an old aunt in the attic, it was then he protested the war in Vietnam, chanted “ohm” at every turn and gave poetry readings the likes of which no one had heard before — very much like a scruffy, scatological Pan. It was meeting Robert Frank, another roadie of the visual sort, that made him started taking photographs again, although photos that are closer to art, less joyful, but more studied: Dylan, Frank and his son Paul, his dying uncle Abe, the pop artist Larry Rivers, Corso and dangerous photos of Burroughs.

For anyone who’s had any contact with that world in their youth, this is like a whiff of dry, non-medicinal marijuana, none more than the picture of the poets in their mid-youth standing arms linked in front of the City of Lights bookshop in San Francisco, five guys hanging out — including the owner Lawrence (“Coney Island of the Mind”) Ferlinghetti, a poet still railing.
[gallery ids="102629,102653,102645,102638" nav="thumbs"]

Gary Tischler •

The Shakespeare Theatre Company’s production of George Bernard Shaw‘s “Mrs. Warren’s Profession” is gorgeous to look at, often out-loud funny, even more often sharp and witty and wonderfully acted. It’s also, in the end, devastating and cruel. Call it a comic tragedy, a tragic comedy. Mostly, put it on your theater calendar if you haven’t done so already.

The reasons? The main ones are Elizabeth Ashley and Amanda Quaid as mother and daughter, and, this being Shaw, protagonists and antagonists. This being a Shakespeare Theatre production, you can be sure that director Keith Baxter can take a good share of the credit.

Baxter has directed a number of terrific comedic productions here, including two Oscar Wilde plays starring Dixie Carter, who was supposed to have starred in this production but succumbed to cancer.

Ashley fills in, and there is no question that this Mrs. Warren is Ashley’s Mrs. Warren. Mrs. Warren, to set the scene, is a hugely successful proprietor and manager of a string of brothels, a profession which has allowed her a regal life and the ability to raise her daughter Vivie in a country house and give her the Oxford education that has made her a steely, very modern young lady.

Set early on in the country, it has a first act full of revelations, which are less devastating perhaps than they ought to be. Vivie was never aware of her mother’s history or lifestyle, but accepts at first the fact that it was the only route to prosperity for her mum, who came from a poverty-tainted background.

Alas, what she doesn’t know is that mom isn’t about to give up the business; it’s too lucrative, too successful, it allows mom to be mom. And that’s where the two women — strong-minded, stubborn, each with her own code — clash to the pain of both.

This is a play about cynicism, hypocrisy, the good old English class system and, of course, the effects of wealth and power. It’s not a fight for love or glory, but a battle for the high ground.

Quaid’s Vivie is lovely, all cheek and bones, she stands so straight that sometimes you think somebody should slap her for her principled stands. Ashley’s Mrs. Warren, on the other hand, moves like a billowing battleship, all guns blazing in dresses that can’t even come close to stifling a giant willful spirit.

In this battle, there are the usual suspects of characters: a parson and a parson’s son who chases Vivie madly, an older creative type (wonderfully played by Ted Van Griethuysen) and a cynical lord who’s Mrs. Warren’s not-so-silent partner. Still, they are mere foot soldiers in the battle between mother and daughter, and none of them have an ounce of the two women’s solidity.

“Mrs. Warren’s Profession” runs at Sidney Harman Hall through July 11. [gallery ids="99153,102844" nav="thumbs"]

Gary Tischler •

In the annals of Broadway lore, the late James Kirkwood’s “Legends!” is considered to be, well, legendary.

Well, yeah, but not in a good way, necessarily.

It’s not that Kirkwood didn’t have a good rep. He was co-author of the book “A Chorus Line,” for which he received a Tony and a Pulitzer Prize, not to mention several well received novels, including one called “P.S. Your Cat Is Dead.”

But “Legends!”, in which two aging female stars and divas are being coaxed to star together in a new play by a rabid producer type, is not a very good play because it doesn’t know what it’s supposed to be. It first turned up in 1986 as a vehicle for two legendary Broadway stars, Carol Channing (“Hello Dolly”) and Mary Martin (“South Pacific”) of very different gifts and temperaments and flopped out of town without making it to Broadway.

In more recent times it turned up as a vehicle for Joan Collins and Linda Evans, who fought like cats on television’s “Dynasty,” and again did not travel far and wide.

Looking at the Studio Theatre’s current production of “Legends,” conceived by legendary drag artist Lypsinka (aka John Epperson), who stars in the lead role alongside James Lucesne, you wonder why they didn’t do this in the first place 24 years ago.

I mean, this “Legends!”, if not legendary, is a hoot. And now we more or less know what it was meant to be: a barn-burner for two divas playing two divas. Who better than two men who know really know how to get attention with dresses, high heels, lots of hair and makeup?

Somehow, “Legends,” which could look awkward with Martin and Channing and silly with Collins and Evans, now looks, moves and acts like great entertainment.

The old play has changed a bit. The women are two movie stars who could be Taylor, could be Davis, could be Crawford or Turner, but it never goes quite so crazy as to turn into “Whatever Happened to Baby Jane?”, although there’s a thought.

It’s bawdy, sure. There’s the male stripper, the black maid named Aretha, who makes racist jokes at the expense of the girls, there’s hash-laced cookies and a producer-agent who gets completely whacked out, played like a crazed cat by Tom Story.

Mostly, there’s Lecesne, who could be doing a sendup on Joan Collins by way of Liz Taylor, playing the famously slatternly Silvia Glenn as if he had just escaped being cast as the matron of the Kardashian clan.

Mostly, there’s Epperson/Lypsinka, a performing original if there ever was one, who did whatever nipping and tucking on the “Legends!” book that’s occurred. But he always brings something unique to every woman he ever becomes on stage, a kind of almost menacing wisdom that ends up being both affecting and really funny. This was most evident in “The Passion of the Crawford.” Here, but it’s softened some, it’s become a little more self-conscious and knowing, and, as always, wonderfully weird and glamorous.

“Legends!” runs at the Studio Theatre through July 4. [gallery ids="99154,102852,102849" nav="thumbs"]