Arts & Society

Georgetowner • October 26, 2015

It’s pretty plain to see that Jason Moran, the artistic director for jazz at the Kennedy Center, is quite the explorer, quite the collaborationist, quite the expansionist.
It was pretty evident back in September, when he curated “Finding a Line: Skateboarding, Music and Media,” set in a skate park constructed on the center’s front plaza. The festival kicked off the new “Jason+” series, which features Moran, a virtuoso jazz pianist with his own group, in cross-genre and cross-discipline collaborations.

“It’s a continuing examination, a deeper exploration of what you can do with jazz, how it can be transforming and transformed, both,” Moran said. “We’re talking here about teenaged skaters, a world-renowned classical pianist, a contemporary dance choreographer who stretches the boundaries of his own discipline. It’s kind of a holistic approach to music, and to jazz, because jazz has a global presence, and a global vision.”

Moran comes by his collaborative tendencies naturally. He’s married to mezzo-soprano Alicia Hall Moran. (They have 7-year-old twin sons, Jonas and Malcolm.) “She turned me on to and got me to listen to more atonal kinds of classical music, which was something of a revelation to me, since at the time I was heavily into Duke Ellington, which is more melodic kind of music.”

The most recent example of putting musical genres together was “Jason+Jeremy,” a collaboration (and co-presentation with Washington Performing Arts) in which Moran and classical pianist Jeremy Denk performed as dueling pianists. “Neither one of us knew what the other would play, how it would work out, and so we sort of played with and off of each other. At one point, Jeremy talked about trying out a Charles Ives piece, and that made me think about old Negro spirituals, and in that way, we came back to jazz, to the core music. Jeremy can play just about anything, and that’s sort of what it’s about. No one thing is purely jazz, or purely classical, or purely anything. There are other elements out there, and what we did was to explore that and come up with new things.”

That’s also at the heart of the Jason+ program on Oct. 28-30 with choreographer Ronald K. Brown and his dance ensemble Evidence. Moran and his Bandwagon jazz trio will play on stage at the Eisenhower Theater through the dance pieces “The Subtle One,” “Why You Follow” and “Bellows.”

“We’ve never done that, playing live music with a dance piece,” Moran said. “And they’re different pieces, it all adds something to the piece, and the piece demands something from our music.”

Brown founded Evidence in 1985, which means the company is marking its 30th anniversary. He’s known for creating choreography for jazz legends like pianists Ahmad Jamal and Mary Lou Williams. “His dance creations are rooted in West African, to basic rhythms. They’re infused with that kind of tempo and feeling.”

“The Subtle One” is a dance premiere, commissioned in part by the Kennedy Center, with the music composed by Moran. “Why You Follow” is an exploration of rhythmic Afro-Cuba stylings. “Bellows” is a solo piece taken from the work “One Shot,” the nickname of photographer Charles “Teenie” Harris, who documented the life of a single African American community — that of Pittsburgh — over a 40-year period.

Other Jason+ projects will include: “Jason+Mason,” the Mason being Kennedy Center Composer-In-Residence Mason Bates, a March 5 performance in the Crossroads Club in the center’s atrium; and a collaboration with tenor saxophonist and NEA Jazz Master Charles Lloyd on April 29 in the Terrace Theater.

“I think this sort of approach will bring in new audiences,” Moran said. “At the Kennedy Center, collaborations are like incubators of new forms and genres. Jazz is in many ways the most innovative kind of music — it takes in from everywhere.”

Gary Tischler • October 22, 2015

During the course of the opening night performance of “The Guard,” (part of the ongoing Women’s Voices Theater Festival in the Washington area), the usual pre-performance formalities are always engaged in—thanks to benefactors, donors and supporter, and, in this case, a shout-out to the playwright, if they happen to be in house.

From a distance, you could see a blondish woman rise out of her chair and take a modest head bow for the ensuing applause.

“For me that was quite a moment,” said Jessica Dickey, the playwright in question. “I had my loved ones there, my family and my partner.  It was special, I have to say.  It was special having my play performed here in Ford’s Theater. That was a little different, to say the least.  And it was that moment, too, when you sort of let go of your creation, it’s completely belongs to others now, the people on the stage, who inhabit the characters, and everyone else.”

Ford’s Artistic Director Paul Tetreault, one of the founders directors behind the women’s theater festival, knew of Dickey’s previous work and commissioned her to write a play for the festival.  The result was something a little different but from but also in the tradition of the theater in the sense that weighty matters were being discussed, disguised as drama, and in the most accessible  and sometimes even profane ways.

She laughed when we talked on the phone about some of the language in the play, which is an exploration of art in the life of human beings of all sorts, primarily, but not excluding, a museum guard who could be working at any of our city museums.  Somehow, in the course of things, people grieve over loss, guard the premises, talk about the art on the wall—Rembrandt—and see how, in the presence of art, life becomes richer even with the impending death of a loved one.  In the course of things, Rembrandt himself, as well as Homer, the subject of a painting, take the stage both vividly, and quite colloquially.

We asked Dickey about her approach to such weighty matters—it’s in the DNA of her previous plays, which includes a haunting, well received work on the massacre of Amish children, and Confederate re-enactors of the Battle of Gettysburg.  She’s also currently working on a play about Galileo’s daughter.

“Well, I hadn’t quite thought of things as weighty per se,” she said. “I think art deals with things we confront and encounter and inspire us to think about life. And I am a writer, and an artist, as well as an actress. So, this is how I express myself.”

She expresses herself extremely well in the theater, and over the phone.  As on stage, so in person by way of conversation, she is funny, and smart, with popular references and language (the word “dude” comes up)  mixing in with sharp, referenced observations.  One thing that’s probably worth knowing about her is that even on the phone she sports a spirited, full-throated laugh, which probably means that she’s a person worth telling a joke or funny story.

“The Guard” came out of a visit to the National Gallery of London, and observing a guard there. Out of this came much—the play is a full-bodied contribution to not only the festival but the theatrical canon.

“You know, what we do is so intimate,” she said. “I like to be involved in the process, not in terms of interference, but how it works—plays these days undergo a lot of versions, readings, workshops and finally the rehearsals, and the closer it gets to the finished play and its production, the further removed you become. I was offered  to attend a meeting of the board here—maybe it was just routine—and I accepted, and it was exciting and informative.

She is not, as she will be the first to admit, shy. “I was a bit of an athlete when I was in school, I played boys basketball when I was little, and I’m in the theater and an actress. We’re in the business of story-telling—look at what’s happening in television, these continuing stories.”

“In this play, I was interested in the things that last in memory and time,” she said. “As a writer, you wonder if your work will last, will be around long after you’re around. The stage itself, acting, that disappears the moment it’s done which is ephemeral.”

“As far as the festival goes, to me, it’s a remarkable thing,” she said. “I mean that it’s being done at all, and on such a scale where a whole theatrical community is basically committing to this at the beginning of a season, all premieres, at all levels.  I’m incredible glad to be a part of it.  It’s been quite an experience.”

In many ways, her work—and Jessica Dickey herself, are quite an experience.

Gary Tischler • October 15, 2015

The haunting, embracing play “Chimerica” by the young, gifted British playwright Lucy Kirkwood is ambitious, swiftly paced as well as sharply and intelligently written. It is a long, powerful offering about the fate of two modern nations as embodied by a moment in history, given a smart and swiftly paced production at the Studio Theatre with artistic director David Muse at the helm.

About the only thing that “Chimerica” isn’t is a part of the massive ongoing Women’s Voices Theater Festival, which features around 50 world premieres, all written by female playwrights throughout the Washington theater community. Technically, “Chimerica” isn’t a world premiere, although it is the work of Kirkwood, probably the hottest young playwright in Britain right now. The play–with dozens of  scenes dealing with 23 years in the history of American-Chinese relations–was a smash hit in the West End. In any case, Studio also world-premiered “Animal” by Clare Lizzimore Sept. 30 as its WVTF entry.

At well over three hours, “Chimerica” is a challenge, for actors, for Muse and certainly for the audience. It runs from 1989—when a fledgling (and fictional) American photographer manages to shoot the iconic image of a young Chinese activist with a shopping bag defying a row of tanks in Tiananmen Square—to 2012, when that same photographer, by now disillusioned, is covering a presidential campaign while wondering whatever happened to what the world described as “tank man.”

The question soon turns into a compulsive, obsessive search for the identity of the man who performed a clean act of moral courage, the kind of act he sees as missing from his own life and the world.  Soon enough, that search consumes him, to a fault, while in China, an old friend of his, still grieving over the death of his wife, watches as a neighbor dies a painful, lingering death from the withering effect of pollution, a by-product of resurgent China’s powerful economy.    We follow a small army of characters, Joe the overbearing photographer, his friend Zhang Lin, as he alerts Joe about the pollution through e-mails and gains the attention of the Chinese party police, much to the consternation of his brother, Joe’s fellow conflict zone photographer, his boss at a publication which, by all accounts, stands for the New York Times and Tessa, an attractive British marketing consultant drawn to the hyper Joe.

Lots of thematic balls are in the air—the overarching progress of Chinese-American relations, the power and meaning of images in the internet world, the need for heroic figures and heroes, the difficulty of dealing with love in a helter-skelter atmosphere, the clash of cultures and politics, the desire for fame and meaning at the same time.

In some ways, even with its great length, “Chimerica” is decidedly cinematic. It functions as a dangerous political thriller, a mystery, a tough play written with both intelligence and humor, and a tolerant, even generous, empathy for all of its characters.

You’d think there would be lag time in a play like this, but Muse has directed with a keen sense of sharp scenes and pacing, aided by a set that uses two box-like constructions to serve as everything from a one-room apartment in Beijing, an art gallery, back alleys and sophisticated New York party settings, aided vividly by imaginative projections. It’s a kind of immersion for an audience in search of intelligent, engaging new plays and productions, and “Chimerica” lets the audience engage with the material, because everyone involved seems fully engaged as well.

One of the hallmarks of Studio productions under Muse is a focus on acting and actors, which may come as no surprise that the theater is the site of the Studio Acting Conservatory, still headed by founder and former artistic director Joy Zinoman. 

In a large cast, Ron Menzel has the most difficult task in portraying Joe, who is easily the most frustrating, bombastic, annoying character in the play. Joe has a typically American moral arrogance, a self-immersed energy, a dose of paranoia, engaging in a reckless pursuit of a truth that may not after all be worth knowing in the larger scheme of things. But he has a presence that is undeniable and which serves him well, given that Joe is the engine driving the plot like a, well, tank, with almost a similar effect.  But Rob Yang, as the mourning Zhang Lin is the heart of the play, he inhabits a sadness mixed with humor and courage that in its own way is as reckless as Joe’s in terms of its results.

Tessa Klein gives a rueful, sexy quality to a young woman who wears her insecurity on her cocktail dress sleeve, hard-living, and appealing.  There are other fine turns—the veteran local actor Paul Morella as Joe’s editor, a knowing resignation by Lee Sellars as Joe’s fellow action junkie, a sympathetic turn by Kenneth Lee as the much-put-upon brother of Zhang Lin, among many others.

Kirkwood, in “Chimerica,” which won the Laurence Olivier and Evening Standard Award for Best Play in 2013, has a certain audacity in this play. She has an intelligence that gives the audience a gift by inviting into the world we live in—quite an amazing amount of it. If the ending may not be as surprising as it should be, it still packs a jolt, a shot to the heart.

“Chimerica” may not be a part of the festival, which is bringing us an abundant explosion of the work of talented female playwrights, but Kirkwood is surely one of the most talented playwrights working today.  That’s worth celebrating and checking out.

“Chimerica” runs through Oct. 18 at Studio Theatre, 1501 14th St. NW.
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Georgetowner •

October 1

K9s for Warriors Gala

Proceeds underwrite the selection and training of shelter dogs to become service animals for returning members of the military suffering from post-traumatic stress and/or traumatic brain injury as a result of post-9/11 military service. The Hamilton. Visit k9sforwarriorsgala.com.

October 2

Paint the Town Red

This “red-tie” event, hosted by Pulse DC, the young professionals committee of the American Heart Association’s Greater Washington Region, supports the mission of building healthier lives free from cardiovascular diseases and stroke. Whittemore House. Visit dcpulse.org.

2015 CulturalDC Gala

This event supports CulturalDC’s efforts to create opportunities for artistic innovation, connecting artists, arts organizations, developers and government agencies to facilitate economic and cultural vibrancy in the Washington area. Dock5@Union Market. Call 202-315-1305 or email info@culturaldc.org.

Stars of the Russian Chamber Art Society

Washington’s Russian Chamber Art Society celebrates its 10th anniversary with a gala concert featuring five rising young vocalists singing Russian art songs. Also performing will be violinist Victor Danchenko, clarinetist Julian Milkis and domra-accordion duo Tamara Volskaya and Anatoly Trofimov. Embassy of Austria. Visit thercas.com.

October 5

PEN/Faulkner Celebration

This evening of readings by diverse writers benefits the PEN/Faulkner Award for Fiction and the PEN/Faulkner Writers in Schools program. Folger Shakespeare Library. Contact Elizabeth Gutting at 202-898-9063 or egutting@penfaulkner.org.

October 7

Friends of Book Hill Park Fundraiser

This event, run by the Friends of Book Hill Park, a volunteer organization, will raise funds for the replacement of the benches and landscaping of the upper-tier circle at Book Hill Park, the historically significant park behind the Georgetown Library. Home of Mike and Cheryl Naeve. Email jasper@ttrsir.com.

October 10

Night Nouveau

This year’s theme of Night Nouveau, a social gathering for young professionals, is “Game of Thrones.” DJ Kristian Nairn, who plays Hodor, will be on hand. Halcyon House. Email David Corson at d.corson@sandr.org.

October 15

Chris4Life Cancer Foundation Blue Hope Bash

The Blue Hope Bash, featuring inspirational stories from survivors, will benefit the foundation’s search for a cure for colon cancer though research. Four Seasons Hotel. Contact Michael Sapienza at 703-749-1680, ext. 100, or sapienza@chris4life.org.

October 16

47th Annual Meridian Ball

The ball supports Meridian’s mission of promoting global leadership. Guests dine at ambassador-hosted dinners or Meridian’s White-Meyer House before convening for dessert, dancing and conversation at Meridian House. Meridian International Center. Contact Olivia Odorieux at 202-939-5892 or odoriuex@meridian.org.

October 17

National Italian American Foundation 40th Annual Gala

The NIAF Anniversary Gala is part of a three-day celebration that includes special receptions, events and Expo Italiana. After dining at participating restaurants, guests will join Joe Piscopo and friends to celebrate Frank Sinatra’s 100th birthday. Washington Marriott Wardman Park Hotel. Call 202-387-0600 or email information@niaf.org.

Hope & Progress Gala

The 14th annual gala benefits the New Sibley, cancer programs at Sibley Memorial Hospital and the hospital’s commitment to provide state-of-the-art, compassionate and personalized medical care. Four Seasons Hotel. Contact Kristen Pruski at 202-537-4257 or KPruski@jhmi.edu.

October 18

Mark Twain Prize for American Humor

Eddie Murphy will be the recipient of the 18th annual Mark Twain Prize for American Humor in a gala performance taped for national broadcast. The event helps support the Kennedy Center’s year-round educational and artistic initiatives. Kennedy Center Concert Hall. Call 202-416-8335 or email mtp@kennedy-center.org.

October 23

Georgetown Gala 2015

This year’s Citizens Association of Georgetown event, “Bar 1878: Georgetown After Dark,” will highlight Georgetown’s unique combination of history, style and allure. The Gala Committee Chairs are Tricia Huntley, Leslie Maysak and Jennifer Altemus. Local band Broad Sound will perform. Four Seasons Hotel. Visit cagtown.com/gala2015.

LUNGevity Foundation’s Musical Celebration of Hope Gala

This New Orleans-themed gala, featuring dinner, an awards presentation and dancing, supports lung cancer research and programs that will save lives and offer new hope in treatment and survivorship. Andrew Mellon Auditorium. Contact Carol Perline at 240-454-3104 or cperline@LUNGevity.org.

October 24

29th Annual Lombardi Gala

The 29th Annual Lombardi Gala will benefit the Georgetown Lombardi Comprehensive Cancer Center. Awards will be presented to remarkable individuals for their fight against cancer. All proceeds go directly to Lombardi for cancer research, education and treatment. Washington Hilton. Contact Sharon Courtin at 202-687-3866 or sc830@georgetown.edu.

Washington International Horse Show President’s Cup Party

At this celebration, guests will watch WIHS Equitation Finals and Olympic-level show jumping during the $125,000 Presidents Cup Grand Prix. Verizon Center. Contact Nara de Sá Guimarães at 202-525-3679 or nara@wihs.org.

Mary Bird •

It was a happy, rainless occasion as pets and their families gathered on the lawn at St. John’s Church Georgetown Parish on Oct. 4, the Feast Day of St. Francis of Assisi, for the annual Blessing of the Animals. Adoptables came from Capitol Canines and the Washington Humane Society. Following a brief service, Rector Gini Gerbasi and Associate Rector Sarah Duggan blessed each animal and remembered the departed. Courtney Stamm of Cheeky Puppy furnished pet treats and G’town Bites on O Street made certain that the two-legged were well fed.
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the Georgetowner •

The 11th Annual DC JazzFest will take place June 10 to 16. At this exclusive peek “backstage,” executive director Sunny Sumter will talk about the plans for 2016 and how the festival is building a new audience for jazz through education and partnerships. Be at the George Town Club at 8 a.m. to catch the action.

RSVP to Richard@georgetowner.com.

Gary Tischler • October 13, 2015

The world of world class violinist is replete with legendary artists and super-nova performers from reigning stars like Joshua Bell,  or Yitzhak Perlman the master, the Italian Giuliano Carmignola,  Stephane Grappelli  or giants from the past like Jascha Heifetz and Yehudi Menuhin, or Fritz Kreisler, or among the ladies current stars like Hilary Hahn and the Dutch mistress of the violin Janine Jansen.

The violin world is also full of rising stars, and among them is the young Ukrainian native of Odessa, Aleksey Semenenko, who already has a certain sheen of stardom about him after becoming the second prized winner in the Queen Elisabeth Competition in Brussels and being named artists of the month in March of this year by Musical American Magazine.

Semenenko, who lives in Cologne, Germany, who has appeared at the Kennedy Center, already put a memorable stamp on his appeal in the aftermath of last year’s Embassy Series concert at the Embassy of the Grand Duchy of Luxembourg with a program that included works by Chausson, Schubert, Tchaikovsky and Rossini. 

There are all kinds of violinists playing all kinds of music in venues all over the world. Semenenko’s singular gifts are not of flamboyance, but of something you can call soulful precision.  He’s not the violinist as showman or dramatist who makes you look at him.  What he does is an ability to play with the goal of perfection that’s often achieved, and the end result is that you feel the music as if it was aimed straight at your heart,  singular, deeply felt. He doesn’t make you watch as much as he makes you listen and feel.

Semenenko, who will perform in the second Embassy Series of the season at the Embassy of the Ukraine in Georgetown Oct. 6 and 7,  has been playing the violin since he was six years old.  He studied with Zoya Mertsalova at the Stolyarsky and one year in, had done Vivaldi’s “Violin Concerto in A inor” with the Oderssa Philarhmonic Orchestra.  “It is a very difficult instrument to play as anyone can tell you,” he said. “My father played the clarinet which is very different.”

Talking to him, you can see that he has a certain required single-mindedness in his approach to his chosen life as a classical musician.  “Practice,” he said. “It is always about practice, practice. It is hard work, of course.  But it is also very, I don’t know, a passionate experience. When you go on a stage, that is a moment that’s very intense, and you have to stay calm, to focus.”

“Mozart,” he says. “He is the most difficult composer to play, but also the most rewarding. You’ve achieve something when you play  one of his composition in a way that is satisfying. You try to do your very best with Mozart, becauses his music touches you so deeply.

He listens mostly to classical music.  “For enjoyment, for pleasure,” he said. “I don’t listen to too much pop music, there’s not that much interesting, I think.  But, yes, I always like the Beatles when I was young and still.” He says that classical music needs to draw young audiences—“It is not just a matter of new music, but new audiences,” he said.

A New York Times critic described one of his performances  and his strengths this way: “He chose works that highlighted his strengths, a powerful technique, rich tone and passionate approache. There was a fluidity and warmth to his playing throughout the program, which concluded with a joyous, bravura performance of a Paganini show piece.”

The bravura with Semenenko  comes in the play—there’s no headshaking, no striking gestures, merely the grand beauty of his playing and the music.   He treats the music not just respectfully, but with inspiration worth of music as art.

Semenenko will be playing with fellow Ukrainian Inna Firsova on piano.  The program will include works by Beethoven, Tartini, Ysaye, Tchaikovsky and Bizet.

Gary Tischler •

I have noted this before—the sheer amount of diversity of ambition, content and talent in the 50-plus play Women’s Voices Theater Festival now going on which can be gleened just by reading the titles.

It’s better  to see for yourself, of course, otherwise you might miss just how some of these plays seem sometimes obviously, sometimes deceptively to match the missions of their venues, as well as the overall concept of the festival, which is to fully display the gifts of a wonderfully large group of women playwrights in the course of two months and a little more.

The recent “Women Laughing Alone With Salad” by Sheila Callaghan is a play so chock full of contemporary memes about women and women and men and gender in general that it seemed right at home on the Woolly Mammoth stage—where everything you think could pop up, usually does.  

Two new plays—“The Guard” by Jessica Dickey at the Ford’s Theatre and the recently closed  “texts & beheadings/Elizabeth R” created and directed by Karin Coonrod at the Folger Theatre—exemplified what this festival is all about with every play that’s  on our stages during its course, which are meetings with the unexpected, new forms of theatre and theatricality and imaginations and performances that go beyond genre and gender.

At first blush, “The Guard” might seem an odd choice for the Ford’s Theatre, which nevertheless commissioned it and whose artistic directed Paul Tetreault was one of the founding movers behind the festival.   “The Guard” includes some explicit language rarely and likely not ever heard in the theater­­—which is as much a national museum as it is a theatre—language which also seemed entirely appropriate to its characters.  

That aside, the play, written with intelligence, wit and an obvious love for its characters,  was a play dancing with big themes—the nature of grief, the nature of art, and the humanity of artists from aspiring copiers, to gifted poets, to Homer and Rembrandt themselves, seems entirely at home here, with its innate love of and respect for history.

Dickey, who is herself an actress as well as playwright, has tackled big themes before—as in “Charles Ives Take Me Home,” “The Amish Project,” a one-woman show about the shocking killing of Amish children, and “Row After Row,” a play about Civil War re-enactors. 

“The Guard” has its focus a veteran guard at a well known museum, which houses Van Goghs and Rembrandts, including “Aristotle With a Bust of Homer.” It’s another day on the job—a young, obviously shy girl comes to copy the painting, a younger guard bursts with enthusiasm, and a new kid on the block arrives, irreverent, a street artist and a bit of a volcano.  The guard—played with a tart warmth by Mitchell Hebert is distracted—his partner and husband, a well known poet, lies at home, dying.

From this situation, Dickey takes us to the world of Rembrandt—where the artist is dealing his frustrated son, his fading glory, and working on the Homer painting while plying his young mistress with gifts—and to the world of Homer himself, a bigger-than-life and quirky, quarrelsome figure played with terrific aplomb by the magnetic Craig Wallace, a Ford’s and Washington regular.  In the end, we return to the guard and the love of his life Simon and you might say, so it goes, but it is much more than that. 

The play has taken us places we rarely get to go in the theater before coming to an end that can be predicted but whose effects are still surprising in how they touch us.  We’ve got to think about big things—art and death, and all that, and how it happens and is linked—through the lives of people we recognize as living in our world, and that’s no small achievement. And in trying also to make us see the artists—the poet Homer, the painter Rembrandt—as human beings, it makes us think of them that way, if not entirely with provable accuracy. 

The staging—that movement between worlds—is accomplished with unassuming dexterity by director Sharon Otto and terrific sets by James Kronzer.  The writing is smart and compassionate, and the acting is anchored by the veterans—Hebert doubles as Rembrandt and Wallace is affecting as the dying Simon.

The younger actors are up to the task—especially Kathryn Tkel who seems to radiate warmth almost naturally as both a grieving art student and Rembrandt’s lady—and Josh Sticklin as Dodger who approaches art full of brio and daring—“touch it, let’s all touch it” he says of the master’s painting. 

Briefly, watching Karin Coonrod’s artful approach to Queen Elizabeth I in “texts & beheadings,” reminded me, oddly enough, of Shakespeare, here in this small temple to Shakespeare. In this production, by Compangnia de’ Colombar, Coonrod has offered up four actresses as four different Elizabeths, none of whom look like the previous stage and movie versions we’re used to seeing.  Deep in our hearts, we know Elizabeth was actually Bette Davis, or Helen Mirren.

In fact, the actresses—Monique Barbee, Ayeje Feamster, Juliana Francis-Kelly and Cristina Spina (speaking at times in Italian)—amount to a woman both familiar and strange to us, ending up full-bodied and full-voiced, speaking often from poems, letters, edicts and recorded conversations by the queen.

They also ended up as an answer to a question asked many times—how did Shakespeare, the exemplary playwright of her reign, also manage to write so many modern-sounding, educated, smart, funny and strong female characters, especially in the comedies.  The answer surely must be that he had a fine example of an extraordinary woman to draw from, his own queen and monarch, who was known to have a fine sense of humor (often bawdy), was strong, keenly self-aware as woman and queen, understood power. 

Here in this play you heard that some woman, and who, in this place, had echoes in Rosalind, in Portia, in Lady Macbeth, and Lear’s daughters, in Juliet and Desdemona, in the queens, and in Katharine that shrew who was never truly tamed.
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Gary Tischler • October 1, 2015

The performance arts world—specifically but not exclusively the world of classical music and opera—has been debating the issue of appealing to younger audiences while trying to hang on to its dwindling traditional core audience for quite some time now.

There’s always a critical clamor for new works and new ways of presenting traditional material, but the Washington National Opera, no slouch in that department this season, opened its 2015-2016 with a decidedly familiar and traditional piece, Bizet’s “Carmen,” which, along with such other popular stalwarts as “Madame Butterfly” and “La Boheme,” are often described as operas for people who hate operas.

But there may be a solution that lies in this grand, crowd-pleasing and emotionally affecting production: the notion that you can have your opera cake and eat it, too. The answer may lie in presenting a familiar work like “Carmen” and do it with an eye toward uniform excellence in such a way that the production elicits the opera’s considerable musical and dramatic virtues. If your production is full of almost uniformly outstanding musical qualities from the star turns to the chorus and orchestra, maybe there’s no need to take a radical approach to make things “revelant,” an approach that has sometimes soured a few productions elsewhere.

This production is remarkably brisk, moving swiftly through a three-hour, one-intermission evening in an engaging way. It’s intense and passionate when it needs to be. It creates a world that seems lived in both musically and emotionally by its characters. It makes you listen and respond.

For the long-standing opera audience, it delivers the expected pleasures and desired results. But here’s another notion: newer audiences, and there were quite a few younger folks in the audience who seemed to appreciate the proceedings, are seeing and listening to something with new eyes and ears, and to many of the them, this is surely a lot fresher material than an Elvis impersonator.

This, then, was a production that was engineered to please operas buffs and newcomers alike. It had a certain freshness to it that went with the rewards of a familiar plot and familiar music. Director E. Loren Meeker didn’t tweak the proceedings too much. It’s a production that has been staged in other places—but added a spicy as well as somewhat stately flamenco sheen to the night, and updated the setting to what could have been Peronist Argentina or Franco’s Spain, what with the notable military presence.

Evan Rogister conducted a score notable for being melodic and, well, operatic, with elan and flair, and it’s the music that tells the tale here. Although there were sequences that featured spoken dialogue the way Bizet had originally done back in its Paris Opera Comique debut in 1875, to considerable critical controversy, some critics even claiming that it had too many Wagnerian qualities.

That’s hardly true—what it has is a kind of French verve (it’s sung in French) on top of a decidedly Spanish look, and feel, and even sound, with some of the music arising from traditional Spanish folk music. It’s an opera that’s beautiful to listen to, almost all the way through. You could shut your eyes and still be moved and carried away by the drama and music.

This “Carmen” also had, on opening night, a fine “Carmen,” which is absolutely necessary, in the French Mezzo-Soprano Clementine Margaine, who’s had considerable acclaim with the role, and makes for a vivid Gypsy femme fatale. That’s probably where the expression came from: her strutting stances, her disdainful attitude and a stone-strong confidence in her allure, and the ultimate effect of it. This Carmen is big trouble for any man with a heart beat, especially in her “Habanera” and when she sings about her considerable charms and the inevitability of the disasters of love, and her passionate need for freedom.

The honorable naïf that is Don Jose, a sergeant in the billeted military unit in a small village never stands a chance, in spite of his engagement to a local village girl Micaela (sung sweetly by Janai Brueger), and his love for his sainted and dying mother. Soon enough, he’s under the sway of Carmen, who loves him passionately in her fickle fashion. Soon enough, he’s in deep with her brigand gypsy pals, and soon enough, she leaves him for the more sophisticated but equally smitten matador. On opening night, American tenor Bryan Hamel as Don Jose was the musical and dramatic essence of anguish, especially in the climatic scene when he struggles to win back a defiant Carmen even as he hears the cheers of the “Toreador Song” coming from the arena.

All of this is flavored in rich atmospherics, and the strong presence of young singers in the formations of villagers, soldiers and bandits, it makes for a rich, colorful evening, the kind of night were you can become immersed in a vividly created world of music and drama on stage.

(Morgaine shares the role of Carmen with another French Mezzo Soprano Geraldine Chauvet, as does Hamel share his Jose with American tenor Michael Brandenburg. “Carmen” will be performed at the Kennedy Center Opera House through October 2.)

Patrick G. Ryan • September 22, 2015

In an Aug. 26 party in Chinatown, supporters of Miss D.C., Haely Jardas, wished her well in the Miss America 2016 Competition on Sept. 13 in Atlantic City. Jardas and the other 51 contestants made their debut on the boardwalk in Atlantic City yesterday and later ventured to New York City for interviews.