Gary Tischler •

-That mother-ship construction project people have been noting at the site of the old Arena Stage near the Southwest waterfront is finally set to open its pearly gates to the public. After two and a half years of construction, Arena Stage at the Mead Center for American Theater will have a ribbon cutting ceremony and Homecoming Grand Opening Celebration on Saturday, October 23, lasting almost all day long from 11:30 a.m. to 6 p.m.

Arena will showcase the celebration at the Mead Center with performances and activities staged in multiple venues. Live theatrical performances, children’s activities and other events will occur in the Fichandler Stage, the Kreeger Theater and the Arlene and Robert Kogod Cradle as well as an outdoor stage, a rehearsal hall, the lobby and a classroom.

The celebration will also showcase the Mead’s café, operated by Jose Andres Catering along with Ridgewell’s.

Be on the look for these offerings: slam poetry, the “Glee” Battle of the choirs, jazz bands and a performance by the cast of “Oklahoma,” the musical slated to kick off the new season. Tickets are free but are require for the events. Tickets will be available exclusively online beginning October 8. They may be reserved at www.arenastage.org.

There will also be a Gala Celebration held on October 25th to commemorate the inaugural season. As indicated, the season kicks off with Molly Smith’s production of Rodgers and Hammerstein’s “Oklahoma” on October 22nd.

Gary Tischler •

-David Muse makes his official debut as the new artistic director of the Studio Theater (he succeeds founder and long-time A-D Joy Zinoman) by directing “Circle Mirror Transformation.”

This is not a debut accompanied by trumpets blaring, and neither is Annie Baker’s muted but ingratiating play about a group of people who are part of an acting class in a small community in Vermont. But the play and the production send out several promising signals about the future,
each in their own way.

“Circle Mirror Transformation” signals a new voice, for one thing, in playwright Annie Baker, who’s made it a point to transform the often inarticulate way we speak and communicate today into a kind of music and poetry — a revelatory method that leads, like acting, to a kind of truth.

It’s an understated play with a little bit of this and a little of bit that. It has soap opera elements, theater stuff, acting stuff, and it’s both contemporary and naturalistic in its look and sound and old-fashioned in its dramatic elements. Baker seems to suggest that acting arrives at difficult truths by way of artful, hard-learned artifice, much in the same way that literature arrives at the same destination by way of fiction.

While the production often seems loosey-goosey and unformed, Muse’s direction and Baker’s writing keep things directionally focused: “We and the folks at the acting class are going somewhere here, and the road and destination seem uncomfortably familiar.”

In the program, Baker says that “the way human beings speak is so heartbreaking to me—we never sound the way we want to sound. Speaking is a kind of misery.”

You can see that observation in action in “Circle Mirror Transformation.” This is especially true for the three students: Schultz, a yearning, confused, recently divorced man full of inarticulate, shiny wounds; Theresa, the bright-eyed, sexy former actress and especially Lauren, the quiet, painfully shy teenager who wears her hoodie like a turtle wears its shell.

The school is run by the insistent, work-it, risk-taking Marty and her husband James, who’s middle-aged, phlegmatic, and a walking disappointment.

We see all of them right at the beginning, lying in a circle at the studio, which is lightly cluttered with a mirror. They’re doing an exercise, an acting exercise, in which they try to count to ten one at a time without anyone counting at the same time, interrupting, or jumping in. In other words, it’s a clean, nearly-impossible exercise in team-work and empathy.

Throughout the play, which is preformed without interruption for nearly two hours, you get exercises which resemble a kind of group therapy, as opposed to anything to do with the theater. The group takes turns “being” each other, hence the initially startling appearance of Jim talking about “my husband.” They try telling stories along a string that is taking a story word by word from one place to another. Interspersed are moments of reality, where the characters interact and relate, and those interactions reverberate in the exercises and vice versa.

That’s especially true of Theresa, played with almost anything-goes, playful energy by Kathleen McElfresh. She’s bounding, bouncy, mobile, and uses every part of herself — the flouncy hair, the long legs, arms, fingers, body — to become a kind of focus point, a magnet for the two men and wary distance for the other two females.

Things happen that probably shouldn’t, but the process itself is what counts. There’s a five-point build-up to the play as we do what they do: at first we keep following Theresa around, then Schultz’s plaintiff voice makes itself heard, and then we note the tensions and old hurts that are part of James and Marty’s marriage. We barely register Lauren’s goth-ish, quiet ten and her voice, barely audible at first. She’s closed in.

But it’s with the final two exercises — a risky write a secret on a piece of paper, then pick out of a hat and read it, and an imagination of what happens after – that we realize that it’s Lauren who’s been paying attention the most, not the least of which was an earlier comment asking, “when do we start acting?”

If MacKenzie Meehan, who plays Lauren with thorough, skinny-teen authenticity and stops-and-starts, is a stellar surprise, Jennifer Mendenhall as Marty is the play’s elastic but tough glue — it’s center and heart and soul. She holds everyone together, even when she comes close to falling apart. We’ve known and seen Mendenhall a long time, especially at the Studio and the Woolly Mammoth, and we’re always struck by her particular brand of guileless, sexy and open-faced naturalness. She doesn’t hide much and can therefore wound you at the oddest moments.

For Muse, it’s a solid start — a bid for a long relationship with the audience worth building. (“Circle Mirror Transformation” runs at the Studio Theater through October 17.)

Gary Tischler •

-The eminently successful playwright Ken Ludwig insists that no one has ever called him a dinosaur.

“My kids maybe sometimes,” he said. “But as far as I remember, no one has said that to my face or in print.”

Well, there’s always a first time. Ken Ludwig is something of a dinosaur. And I mean that entirely
as a compliment.

In the theater world, Ludwig is like one of these environmentalists that runs all over the world trying to save species of animals from extinction.

In Ludwig’s case, he’s almost single-handedly kept alive such genres as the pre-Rodgers and Hammerstein musical, stage adaptations of young people’s literature, plays that can be called farce, star-studded (or not) comedies about theater, movie and show business folk, and the oft-remembered but rarely sighted “well-made play.”

I don’t mean to suggest now that he’s re-staged, produced or mounted new productions of old plays—otherwise known as revivals—no sir. He has written well over a dozen plays that are basically examples of all of these genres, as authored not by George Kaufman, Mark Twain, P.G. Wodehouse,
or anybody else you can name now tap dancing in show biz heaven, but by himself.

“I’m not a dinosaur,” he said. “I don’t see myself that way, let’s put it that way. I write and create plays that are in the form or genre of plays that I’ve loved, or forms of entertainment that I love. Most of them are comedies, which are, as you know, are serious business.”

Example one, and the latest: the world premiere of “A Fox on the Fairway,” now at the Signature Theater in Shirlington through November 14. It’s a comedy—farcical, no doubt—about golf.

“Specifically, it’s about two American country clubs and some of its members competing for an annual trophy,” Ludwig said. “From there, you can just imagine.”

Now think for a moment, who made a literary sideline of writing wry comedic books and stories
about golf, besides American sportswriter Dan Jenkins?

It’s none other than the great comedic British stylist P.G. Wodehouse, the man who gave the world “Jeeves,” the impeccable, perfect literary butler.

“Exactly,” Ludwig said. “I love comedy, and Wodehouse is an example of a certain kind of style of writing comedy. Writing comedy in book form is terrifically hard. So is writing comedy for the stage. To my mind, it’s the most difficult art form in literature because, first and foremost you have to make people laugh—out loud, preferably—chuckle, smile. In the theater, you don’t want silence during a comedy. It’s a kind of homage to Wodehouse, yes, but it’s very American also.

“I loved Wodehouse. I loved his golf stories. I loved Jeeves. I love J.B. Priestley, whose writing
has a little more edge. They’re both great stylists.”

So ‘A Fox on the Fairway,’ you can be sure, is going to be funny. “We heard good things during performances for preview audiences,” Ludwig said.

There are other things Ludwig loves—besides his family. He loves old movies, you guess. He loves show tunes and the great composers of the American songbook like George Gershwin and Cole Porter. He loves comedy. He loves classic and popular literature and stories, like those by Mark Twain and Robert Louis Stevenson. He loves show biz people, of which clan he is now a certifiable and certified member.

He says what he tries to do with his plays is to look at them in a fresh way, to make them come alive for contemporary audiences. That’s probably true, but there is a greater force at work here. Put simply: it is love.

Ludwig brings a first-love quality to his work, the boyhood crush you never get over, the grateful
love for whomever gave you that first kiss that was really stupefying, the first movie you ever saw that made an indelible impression, the love you still feel for all the lyrics you can’t get out of your head like “Summertime,” “Porgy” or any Gershwin and Porter tune, the love you feel for the great clowns and their pratfalls and that moment during a comedy when there are three people hiding in closets and three people coming through the door.

All of this stuff sounds old fashioned—dinosaur-like if you will—except for one thing: it works for him and for us. He doesn’t do revivals, but his own plays are continually being revived and performed on Broadway (“Lend Me a Tenor” most recently) and in just about every regional and local theater in the country and around the world.

Consider that his very first produced play, the aforementioned “Lend Me a Tenor,” is a side-splitting comedy about the world of opera and was produced by none other than Andrew Lloyd Webber, a gentleman with a fairly decent show biz track record who once wrote a musical called “Jeeves.” Or consider “Crazy for You”, the 1990s musical that he wrote in the mode of Gershwin’s original musical which won a Tony for him (He also pulled off a similar epic with a production of Gershwin’s “An American in Paris”). Consider the stage versions of “Treasure Island” and “Tom Sawyer” and “The Three Musketeers,” geared toward young audiences and the family trade. Consider one of my personal favorites, that of “Shakespeare in Hollywood,” a grand, affectionate comedy about the making of “A Midsummer Night’s Dream” at Warner Brothers Studio in 1930s Hollywood. Consider “Moon over Buffalo,” already revived and an adaptation of Thornton Wilder’s “The Beaux’ Stratagem” or “Leading Ladies.”

Now take a look at Ludwig’s website and check out where Ludwig plays are, or have been playing. Why, they are just about everywhere: Aurora, Ohio, Broadway, the Crested Butte Mountain Theater, The Minstrel Players, the Villainous University Theater, the Scarborough Theater in Ontario, Canada, “Moon Over Buffalo” in Moldova, The Three Musketeers, in London, “Crazy for You” in Melbourne.

High-minded critics haven’t always been crazy for Ludwig. But theatergoers have. Those plays live on, in much the same way that the forms, writers and shows that Ludwig loves so much live on in his mind. In a way, he’s returning a favor of happiness found, happiness returned.

“As somebody said: tragedy is easy, comedy is hard,” Ludwig said. Actors like Barry Nelson, Hal Holbrook, Carol Burnett, Joan Collins and the late Dixie Carter have shown that.

Not bad for a guy who’s also a certified lawyer and graduate of Harvard Law School, family man, husband to wife Adrienne (also a lawyer), and father of Olivia and Jack, resident not of Hollywood or New York, but of Northwest Washington. And he just keeps on rolling because, well, the game’s afoot. Oh wait, that’s the title of his next play (subtitled “Holmes for the Holiday”) about William Gillette, the great actor who made a career of playing Sherlock Holmes on stage.

Gary Tischler •

-Most worthwhile efforts have small beginnings, and this is also true for the Embassy Series, the unique musical events put together every year by its director, Jerome Barry, now in its 17th season.

Barry began his series of concerts/receptions at Washington embassies, ambassador’s residences and occasionally cultural centers with a core spirit. Many early offerings were held at European embassies like the Embassy of Austria and the Federal Republic of Germany.

The cultural core of the early concerts was the music of what may be Europe’s greatest cultural contribution to the world—a kind of library of great 18th and 19th century composers from Bach, Mozart, Schubert, Beethoven, Brahms, the Strausses, Haydn and others whose compositions amount to the great and lasting saving grace of the German-speaking nations and peoples of the continent.

With them came the pianists, the violinist, the quartets and ensembles and trios, the flautists and cello players, the young as well as the world-renowned to play the works of European geniuses in settings and atmospheres unique to the music. Recitals, solo performances, sonatas, the E-minors and B majors, and all the technical bravura and skills are all important here. They are the missals for the body of European music’s masses and scriptures.

Over time, the Embassy series concerts have expanded into the wide and wider reaches of the world, embracing the rest of Europe, Russia, the Slavic countries, Latin America and the Middle East. With its acceptance came a wider scope of music with different sounds, emphases and instruments, which sprung from the fountain of different cultures and traditions.

But the Series always returns to the great composers, the great wellspring of European music, and even now such concerts are unique in and of themselves.

In that sense, the recent appearance of Till Fellner, the rising-star pianist, at the Embassy of Austria was so illustrative of the performance of classical music that is really classical beyond the music.

Fellner came to Washington to conclude his project of playing the complete cycle of Beethoven Sonatas—all 32 of them—on a journey that included New York, Washington, Tokyo, London, Paris and, appropriately, Vienna, where Fellner was born and which is home to a gilded, triumphant musical reputation and aura.

On the Sunday afternoon of his performance before a sold-out audience, Fellner completed the cycle by playing Sonata 30 E major, op. 109, Sonata 31 a flat major, op. 110 and Sonata 32, C minor, op. 111. The numbers, of course, tell you absolutely nothing unless you are an aficionado of Beethoven’s sonatas, or know your way around the little manifestos that describe how a piece will be played as in (for No. 32): Maestoso—Allegro con brio ed appassianata Arrietta: Adagio molto semplice e cantabile.

This is not meant to be even remotely a critical piece, which, in any case, this writer isn’t qualified to do. But I’m pretty good on history, setting, atmosphere, feeling and response. And I know a super-star when I hear one—here I mean Beethoven—and a budding super star when I see one. The Sonatas Fellner played are works from 1820-1822, and music history suggests that they were meant to be of a piece.

Fellner performs, behaves, and plays like a man dealing with a masterpiece. This is not just a question of technique, but a kind of presence, where the artists become a priest –my fingers to God—who is inspired and inspiring to listen to. All great pieces of art, and perhaps most especially of music, have a religious quality to them even if composed, written and created by agnostics or atheists. They are offerings meant to penetrate the great void and give it density, nuance, glory, suppleness, a kind of knowing. They are like sacrificial smoke rising up in swirls. The Sonatas do that like King Lear’s lament, Rembrandt’s touch of light.

Great musicians, always in their own ways, behave accordingly. There is a ritual involved, and a pact with audience and player. Unlike music and performances from other areas of the world, which have aspects of naked emotion and celebration in them, a kind of intense sociability, concerts like this one require, and always have, a certain embrace of stillness. The object is not to clap your hands, but to sit on them, or to stroke your mustache or listen intently with your eyes and heart. A performance such as this calls to action that part of the brain that can hear a lapse in technique, a missed key, or the buzz of a fly two blocks away.

In a sense, concerts like these are indeed like being in church. It’s smoke and incense and faith and appreciation; apt enough since much of European composition begins with church and ended up there too.

Felnner has the requisites of a star player. He knows it’s not enough to wear a black tuxedo to the chair. You have to spread out the tails in a certain way. You must every now and then, with a shake of the head and a wave of the fingers coming up from the keys, add human drama to the notes. At 39, he maintains those boyish good looks that seem to be built into the genes of future pianists, so that when he bows, it is a polite but not quite humble act.

No need for humility, in any case. Playing the last three sonatas seemed not just a climax to a personal musical journey, but a journey in and of itself where movements soar, tremble, and achieve a grand serenity in the end.

Gary Tischler •

-Even if she hadn’t announced herself, the voice on the phone, a little whispery, a little dramatic, not as strong as in some other years, was still instantly recognizable. “Hello,” the voice says. “This is Tammy Grimes.”

Of course it was. Tammy Grimes, the legend.

She came to Washington for a concert as part of Barbara Cook’s “In the Spotlight Series” on cabaret singers; a category which seems almost whimsically focused to define Grimes. Cabaret singers are by and large original in such a way that they can be compared to no one else.

As she was in the 1980s when we talked to her in the midst of a concert gig at the now defunct Charley’s, a tony, jazzy, New Yorkish night club on K Street in Georgetown, Grimes is in the Duke Ellington mold: beyond category.

And probably by now, so thickly is she held in the affections of New Yorkers and by people who care more than they should about Broadway lore and stories, she’s also probably beyond criticism. She continues, in her mid-seventies, to fiddle around the edges of her creation, that is, her story and herself.

“Well, I’ll be singing songs by Tom Waits, Jimmy Buffett…” she said almost blithely, as if they might be the standard repertoire for a woman who rose to become a Broadway star for decidedly un-Buffett, un-Waits-like material.

But then again, maybe not. If Grimes repeats anything a lot, it is a simple thing. “I like songs that tell stories,” she says to me on the phone, and again to us in the audience of the Kennedy Center’s Terrace Theater. The story she tells, of course, is her story, and so a concert like this, and others written about New York, are about her. They are familiar stories, and the songs are pertinent to them; about two ex-husbands, two Tonys (“The Unsinkable Molly Brown” and “Private Lives”), about Cole Porter, Noel Coward and Truman Capote, about loss and love, family and children, theater openings, parts made her own and parts she never got.

Hence, “Moon River.” She tells me the story over the phone, and it’s like we’re just talking. There was the time that, ”Truman Capote–we were friends–said that he’d written “Breakfast at Tiffany’s” with me in mind. He saw me as Holly Golightly, and he promised that he would get me the part in the film. And of course, Audrey Hepburn got it.” And on the phone it’s a matter of fact telling, a good story, with no hard feelings or regret in it, because those things happen and Truman is Truman and that sort of thing not said, but implied. On stage, she tells the same story, but here it becomes a no-regrets bridge, a way to launch into her anthem, “I Ain’t Down Yet” from “The Unsinkable Molly Brown,” the Meredith Wilson musical about a particularly defiant survivor of the sinking of the Titanic.

For sure, Grimes is a legend, but it’s hard to say exactly what kind of legend. Noel Coward discovered her after her hearing her sing. he had dinner once with the shy Cole Porter, whose “The Oyster Song” she makes a hugely enjoyable enterprise in performance. “We were both shy, I think,” she said. “We spent the whole dinner not saying a word.”

Imagine that. She has plenty to say, of course, and more to sing. She talks about her ex-husband Christopher Plummer, the grand actor, “a beautiful man.” “He still is and now we get along just fine,” she said. “And we had our beautiful daughter, Amanda. Honey, if you’re listening anywhere, please call home.”

The higher registers of her voice are something of a tremulous adventure now, but the lower range is alive with danger, feeling and unpredictable adventure. She sits most of the time now during her concerts, although she will walk to the mike and grab it forcefully. And she sings “The Pirate Song” from Kurt Weill’s “Three Penny Opera” and kills it. The song has all the vengeful menace that it offers up.

Sometimes you suspect people haven’t always known what to do with Tammy Grimes. She’s made a number of mostly forgettable films and done all sorts of unruly television work including her own brief show.

But it’s Broadway and New York that are the stars in her crown, where the cheering still goes on as it does with the Terrace Theater audience, as well as at the Metropolitan Room. Walter Kerr, a legendary drama critic, flat out said, after seeing her as Molly Brown, “She is a genius.” The question is: what kind of genius?

Listening to her sing-tell Waits’ “Martha,” or Buffett’s “He Went to Paris,” or “You Better Love Me While You May,” you pick up on her strength more than the fragility, and the tremendous loss the death of her husband, the composer/arranger Richard Bell must have been. She doesn’t hide it. She merely swings into “You Gotta Ring Them Bells” or something similarly fist-clenched and forward-moving.

For me, and I suspect for New Yorkers who have heard and seen her at the Metropolitan Room, she’s an urban unicorn, a legend for whom, when they appear, the slate is always clean and the stories always rich.

Grimes is the kind of performer who is a reminder that you don’t go to the theater or the cabaret to forget.
You go to remember. And Tammy Grimes, while she may forget a lyric here or there, has a rich store of memories and music.

She came back with everyone standing up clapping for an encore: “I’m going to sing ‘The Rose.’” I heard her sing that song on a wintry night in Charley’s, snow on the ground. Bad news in the news like today. She pushed up the rose and made you remember.