Theater J’s ‘Body Awareness’: P.C. Fun With Phyllis and Joyce

September 13, 2012

Annie Baker is kind of sneaky, or at least she writes plays that feel like they’re written by a cat burglar.

Her plays—including “Body Awareness,” now receiving an affecting, imaginative staging at Theater J, as well as the hit, “Circle Mirror Transformation,” performed at the Studio two seasons ago—sneak up on you. They’re not so much disarming as surprising—like the moment in a story where someone wipes the dirt off the orphan’s face and finds out he is heir to the kingdom.

The way Baker operates is to set you up. She lets you make assumptions about characters, about what’s likely to happens next, then makes you throw the assumptions in the trash as you move along. It’s not that the assumptions are wrong, entirely, or that some things that you see coming from a distance doesn’t happen. It’s just that the seeming simplicity of her work and her use of language, her authenticity, if you will, seduces you into thinking that the play is simple, too, that it can’t be rescued from its apparent pitfalls. It’s complicated, and awkward, but it opens your eyes and heart at the end.

“Body Awareness” is an earlier work and centers around an event called “Body Awareness Week,” a celebration of just about politically correct cliché in the world, including the sin of irrefutable, high-minded dead-seriousness. At its center are Joyce and Phyllis, a lesbian couple in a household that also includes Jared, Joyce’s 21-year-old son from a failed marriage, who the couple believes is suffering from Asperger’s Syndrome, a belief which Jared bitterly and sometimes savagely fights. Phyllis, supremely confident in her view of the world, a professor at the local college, is running “Body Awareness Week,” with a kind of flinty assurance and cheerfulness resembling that of the Church Lady. Throw in a very laid-back, somewhat-on-the-make photographer named Frank Bonitatibus, who’s got a show in the festival of artsy photographs of naked women, and you’ve got a self-awareness-and-the-rumblings of discontent-week in the house.

As with “Circle Mirror,” the characters are flawed, and initially at least, not particularly likeable. They have annoying qualities at first blush: Phyllis, who preaches the gospel of gender and language PC, has a tendency toward the pedantic translating into a superior tone; Joyce oozes earth-mother protectiveness and accommodation; Jared, whether he has Asperger’s or not, is a bundle of treacherous emotions that are difficult to deal with and Frank, in his cool vest, thin-legged often-washed bluejeans and beard, is an aging hippy, his male libido barely in check. He is also a catalyst for friction between the two women and the source of manly advice (of the worst sort) for Jared, who’s never had a girlfriend and calls himself an auto-dactic.

In an hour and a half with no intermission (this was also the case for “Circle Mirror”), “Body Awareness” director Eleanor Holdridge deftly lets the play take its time and lets us almost move in with the characters and the sparse space of the set which is the cabin-like home owned by the couple. In the process, you get lots of talk, edgy combative talk, awkward painful talk spoken with a naturalness that turns the characters into people you start to care about, almost in spite of themselves.

That’s one of Baker’s gifts and concerns: how hard it is for people to community, to speak the truth, not because they’re hiding something, but because they don’t know how. So, you get glimpses of the “Body Awareness” events and occasions, you get to see Jared’s painful, needy world (Adi Stein is terrific in the part), you hear snatches of the couple’s history—Joyce explains that Phyllis is her first girlfriend, wheras “Phyllis came out in kindergarten, she’s always known who and what she was.”

Often funny, often painful are the prickly arguments between Phyllis and Frank and Phyllis’s hostility towards the “male eye,” i.e. art, pictures and anything that objectifies women. Susan Lynskey gives Phyllis a frustrating edge, as in an all-edges quality which is sort of like sun tan lotion warding off the sun, while Marybeth Wise manages to create a Joyce who is at once warm, expansive and completely awkward. In a weird way, it’s what makes her appealing, funny and sexy. Frank, being the dog he is, sees that right away. Michael Kramer lets you see Frank’s carelessness, his need to be liked, to worm his way in. It’s an aggressive kind of irresponsible charm. He stops just short of hitching up his jeans by the belt and strutting.

Yet, all this conflict has the effect of re-arranging feelings and illuminating who the characters really are in the end. They seem like a group portrait of Dorothy and her companions, breathless after the dangers of Oz, knowing at last their own hearts.

As a play, “Body Awareness” is a kind of small gift for an unspecified occasion, like a really fine, if not trendy, bottle of wine, to be savored. It’s at Theater J at the Jewish Community Center on 16th Street through Sept. 23. Go for it.

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Turner and Ivins, ‘Red Hot Patriot,’ a Perfect Match


It’s hard to doubt that somewhere in the course of a long career of jabbing Texas politicians and officials with the written-word equivalent of a cattle prod that some state senator or party chairman or Bush family hanger-on, with teeth-clenched respect, allowed that she had a set of male equipment, the highest compliment a man can pay a woman he’s not trying to sleep with, but who makes him nervous anyway.

Whatever the case, Molly Ivins didn’t need it. She had something better—flat-out, unrepentant courage.

Now, she’s got something almost as good to help keep her memorable wit and entirely human qualities alive: She’s got Kathleen Turner, who stars as Ivins in “Red Hot Patriot: The Kick-ass Wit of Molly Ivins,” now at Arena Stage’s Arlene and Robert Kogod Cradle Theater through Oct. 28.

It’s as if Ivins, who died in 2007 from breast cancer, was once again delivering political thunderbolts that made you proud, laugh, or squirm, depending on who you were, with her syndicated column, in a long career as a journalist from the New York Times to the Texas Observer.

Turner—movie star, outspoken supporter of liberal and progressive causes, mother, award-winning stage actress, and a still hot memory in the minds of many male movie goers of the 1980s for her performance as the femme fetale in the noirish “Body Heat”—is a perfect fit to march onstage and be Molly Ivins. If Turner’s famous voice—a rough shade deeper than in her “Body Heat” days, but just as impossible to ignore—has an equivalent somewhere, the words in Ivins’s column fit the bill, so it’s terrific that Turner’s speaking her words out loud. They’re going to echo loudly.

There’s a I’ll-do-it-my-way quality to both women. You can hear it over the telephone in an interview with Turner, or the way she tackled a glaring spotlight—“Whoa…can you give me a break here?”—as she sat down for a Newseum event, “An Evening with Kathleen Turner,” moderated by Shelby Coffey III, remembered here as the former Post Style section editor, and in the company of Margaret Engel, who co-wrote “Red Hot Patriot” with her twin sister Alison.

“That was fun,” she said of the Newseum event, “I like having fun.” Over the phone, the voice is down to a light roar, like a mother bear in a relaxed mode.

“I think we share some things. We have, I know, the same outlook, similar causes and political tendencies,” she said. “I am, if you did not know it, a member of People for the American Way. I am a chairman for Planned Parenthood. I support Amnesty International, among other causes.” Ivins wore her politics, which was liberal mixed in with a little verbal rage and lots of passion and in-your-face-humor.

Verbally, or on paper, both women share a common outspokenness, a big life story and a bigger-than-life-persona.

They could make an impression one way or another: Ivins with her 6-foot-1 presence and bright red hair; Turner with her physical sensuality, her voice, her acting chops, her movie star quality and directness. They both have led somewhat turbulent lives. It’s the nature of the beast when you become a movie star early on, although Turner objects to the “overnight” description. “I’d been working for quite a while. So, it’s not like I hadn’t been around,” she said of her, well, overnight rise to mega-stardom in “Body Heat.” “It was disconcerting, sure, with all the attention, the movie star thing, and it’s tough to handle.”

Her body of film work contains more unforgettable gems, which overrides the dross. You couldn’t get a better jump stardom jump start than “Body Heat,” “The Man With Two Brains” (in which she was as funny as Steve Martin), “Crimes of Passion,” “Romancing the Stone”, the hit woman to Jack Nicholson’s hit man in “Prizzi’s Honor,” and the remarkable movie about a marriage gone bad and mad, “The War of the Roses.”

“We [Michael Douglas and director Danny DeVito] were all proud of that,” she said. “That ending, the three of us had to fight for that, we battled with the studio on it and won.”In “Roses”, the movie took itself to where it was headed all along, and it was not a happy ending.

If you look for both women on YouTube, you see something else, the quality of sharp humor, insistence that attention must be paid. It’s mixed with tough honesty, evidence of big lives lived richly, with wind warnings.

“Molly could fill a room. She had presence. She cared passionately about politics. She had a huge heart,” Turner said of Ivins. “It’s important to me that I do her justice when I’m on that stage being her. The humor has to be there, and it is. Doesn’t matter where you are, people respond to that. I admired her immensely, no question.”

Ivins was no question, liberal-left, or as she’s quoted as saying in the press materials: “I am a liberal and proud of it. Fish gotta swim, and hearts gotta bleed.”

To her, work was everything: she left the New York Times, or was let go, depends who’s talking, to return to work in Texas, a base from which she blasted Texas politics and political figures.

Listen to Turner talk about the stage—where she was a triumphant Martha in a revival of “Who’s Afraid of Virginia Woolf?” by Edward Albee—you can hear some of the passion that Ivins must have felt when the words were rolling sharply and perfectly. “There is nothing like it,” she said of being on stage. “There’s a connection, a kind of conspiracy with the audience, that you are here at a moment that will never be repeated, that this is special, original, one-of-a-kind. I feel that way every night. It’s always fresh.”

For Ivins, Turner said she did not do any special research. “The words are already there, and you have to trust that. But I want the humor to be out there. I like making people laugh, making them crack up.”Things were not always top-of-the-world for Turner. In 1992 she was diagnosed with rheumatoid arthritis, a debilitating disease which left her in constant pain. “I was told I might not walk again,” she said.

Still, she’s persevered. She remains in the ring, on stage, active in politics, and here in Washington, you can expect to see her at numerous events. And until the end of October, you can find her on stage at the Kogod Cradle, resurrecting Molly, making people think, making people laugh as the 2012 election campaign rolls on to its conclusion like a severe weather warning.
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Free For All: the Bard’s ‘All’s Well That Ends Well’

August 23, 2012

One way to tell that the 2012-2013 theater season is just around the corner, if not upon us, is the arrival of the newest edition of the Shakespeare Theatre Company’s annual Free For All production which serves as both a climax to the previous season and a signal for the coming of the next one.

The 22nd Annual Free For All Production started this week and runs through Sept. 5 at Sidney Harman Hall with a production of Shakespeare’s sparkling, romantic, enigmatic comedy, “All’s Well That Ends Well.” Tickets, as the program title suggests, are free.

The Shakespeare Theatre Company’s artistic director Michael Kahn was the original director of this production, a task which will now be handled by Jenny Lord who was assistant director on the original production in the 2010-2011.

A large part of the original cast returns from that production, most notably Oscar-nominated actress Marsha Mason who reprises her role as the Countess of Rossillion, Ted van Griethuysen as the King of France, Miriam Silverman in the difficult lead role of the play’s heroine Helena and Paxton Whitehead as Lafew, a prominent member of the court.

Helena is always something of a problem child—a female character who’s smart, brave, determined, and dogged, determined against all odds to make a man who’s obviously wrong for her love her, surmounting obstacle after obstacle. She’s a child of the court where her father was doctor to the king, and save the king, gets a wish to wed any man she wants. The man she wants is the aristocratic, noncommittal-to-a-fault Count Bertram, who invents new levels of boorishness to avoid being wed to Helena. Things, as they say, happen and complications ensue. A Shakespeare play is always full of surprises, trap doors and characters to whom attention must be paid. In this case, the king’s wisdom, which van Griethuysen lets shine through with authority and wisdom, and the strong-willed kindness of the Countess Rossillion as displayed quietly by Mason are key factors, as well as Silverman’s marvelous and appealing resilience as Helena. Watch out for the character of Parolles, a paragon of not being a paragon, or as one of his friends marvels, “He knows what he is, and he is still what he is,” or words to that effect.

The Free for All, an annual, full-scale production of one of the company’s previously and recently performed production, has become both a tradition and a gift for Washington theater goers since it was originated by Kahn and Robert Linowes 22 years ago . Since then, some 630,000 patrons have attended since the first production of “The Merry Wives of Windsor.” Until the series was moved to Sidney Harman Hall, its productions were staged outdoors at Carter Barron Ampitheatre. The series managed to combine aspects of giving back to the community by staging high-quality, full-blown Shakespearean plays while at the same time creating new audiences for the theater.

For more information on the Free For All’s tickets, dates and times, visit the Shakespeare Theatre Company website

Perfectly Timed ‘Whorehouse’: Hypocrisy, Media and Politicians

August 21, 2012

At Signature Theater, pretty much from the beginning and for the last 22 years, everything old has found a way to be new again.

While the Virginia company, much honored with Helen Hayes Awards over the years, has mounted new dramas and musicals every year, a specialty of the group under the leadership of artistic director Eric Schaeffer has been to stage numerous hit Broadway musicals, especially those from the legendary composer and lyricist Stephen Sondheim.

Usually, the musicals, under Schaeffer’s direction and the Signature imprint, tend to somehow look and feel newly minted and original.

That’s likely going to be the case for “The Best Little Whorehouse in Texas” with a book by Larry L. King and Peter Masterson and music and lyrics by Carol Hall. It first saw the light of Broadway in 1978, was remounted successfully over a decade ago with Ann-Margret and was a not-so-critically acclaimed film with Burt Reynolds and Dolly Parton.

“Whorehouse,” based on a magazine article by King, centers around a Texas-sized controversy over a house of ill repute which has been operating happily in a small town for almost as long as there has been a Texas. Suddenly, thanks to a crusader journalist, there’s a move afoot to close it down for good. Drama, conflict and major hypocrisy ensue.

“This is going to be a different ‘Whorehouse’ than people might be used to,” Schaeffer said in a phone interview. “For one thing, I think it’s going to be more people-oriented. We’re trying to avoid clichés here. The girls who work at the Chicken Ranch are going to be seen as people. They’re going to be very vivid And, let’s face it, political hypocrisy will certainly echo in the Washington area. It’s an election year, after all.”

The show won’t be weighed down with the burden of star turns of the kind (Reynolds as a sheriff, Parton as a madam) that did in the film version. Signature, even when there are star roles, has always been an ensemble effort, no matter what they do and “Whorehouse” will be no exception. “Take Mona, for instance, who runs the place. She has to look out for her girls when all the fuss erupts. The house is like an institution, a tradition around there and, of course, politicians are part of the regular customer list,” Shaeffer said.

Sherri L. Edelen will take on the major role of Miss Mona. She’s a veteran of numerous successful Signature productions, which have garnered her two Helen Hayes Awards (“Les Miserables” and “Side Show”) and nominations.

“A gritty satire about moral hypocrisy and media sensationalism, this musical is the perfect election-year event,” as the press release announces, “The Best Little Whorehouse in Texas” runs through Oct. 7.

AFI’s Tribute to Marilyn Monroe, 50 Years After Her Death

August 20, 2012

It’s August, and in the course of a hot summer month 50 years ago, screen icon, sex symbol, tragic muse to many a play and novel, actress Marilyn Monroe died of an overdose, in somewhat mysterious and still speculated about circumstances. She was only 36 years old. Her ex-husband American baseball legend Joe DiMaggio for years afterwards brought flowers to her tomb in Hollywood.

The American Film Institute is commemorating the 50th anniversary of her passing with a special series of some of Monroe’s finest films through Sept. 16 at its Theatre and Culture Center in Silver Spring.

The selected films show off the character of Monroe’s gifts, talents, and charisma and hold a key to understanding the hold she has on American imagination. Some of the films may date in content and style, but her gifts continue to shine through.

Monroe was not the first sex symbol brought forth by films, nor the last. She was not America’s sweetheart or the most beautiful woman ever to grace the silver screen, but she was a kind of dream that men—and women, those that dream of fame, glory, stardom and celebrityhood and its contents and discontents—still dream. For men of pretty much all ages of that time—young boys, cads, millionaires, intellectuals and muscle boys, even a president—she was a kind of reality show. She had a kind of welcoming openness that made you think about idle prospects if only you might be sitting at the same lunch counter with her.

Her life was also something of a cautionary tale of the price of fame, how debilitating and crushing a burden it could become as it was for her. She married an American sports legend and an American intellectual and literary legend, which speaks to her need for adoration and intellectual respect. Neither worked out: Joe DiMaggio’s departure being brief, having mistakenly assumed that she could turn Marilyn into a good Italian boy’s housewife. The marriage with Arthur Miller lasted longer, and resulted in two offspring for Miller, the screenplay for “The Misfits” and the classic play “After the Fall.”

She was quotable, and stories and rumors surrounded her like a light mink coat. “What do you have on when you’re in bed?” she was asked. “The radio,” she replied. And, having entertained the troops in South Korea amid huge adulation, she told her husband the New York Yankees’ Joltin’ Joe, “You’ve never heard such cheering.” He replied: “Yes, I have.”

Among the AFI’s selected films: “Monkey Business,” a black-and-white dizzy comedy with Cary Grant, with whom she held her own in the banter and laughs department; “Gentlemen Prefer Blondes,” in which she was the gold-digginest of blondes alongside busty brunette Jane Russell, singing “Diamonds Are a Girls Best Friend”; “The Prince and the Showgirl,” in which she was an appealing showgirl to Laurence Olivier’s rather dour prince; “How to Marry a Millionaire,” standing and wiggling tall next to Betty Grable and Lauren Bacall; a classic and beautiful and affecting performance as a showgirl courted by a cowboy in “Bus Stop”; the dark thriller “Clash By Night”; the sharp, tightly written “The Asphalt Jungle,” in which she had a small but, as always, memorable part as a gun moll; and the unforgettable and by-now classic “The Misfits”.

Legends have grown up around this drama about a woman in Reno for a divorce, hooking up with modern cowboys Clark Gable and Montgomery Clift under the direction of John Huston.

By all accounts it was a tough shoot: Marilyn popping pills and late all-the-time; Clift not much better in his declining years; Gable dying of a heart attack soon after shooting’s end; Miller battling with Marilyn and Huston. It was perhaps Gable’s finest film, and he said as much after seeing rushes. The movie haunts and all the people are haunting and haunted by it. Another writer and I heard Eli Wallach, who played Gable’s buddy talk about it years ago over a lunch interview at Georgetown’s departed classic saloon and restaurant, Nathan’s. Wallach resurrected the film and Monroe before our eyes as if it were yesterday.

It was yesterday, 50 years ago.

For information on the Monroe movie commemoration, visit the AFI website.

Jonathan Butler’s Musical Journey

August 10, 2012

The Four Seasons Hotel invited friends on May 29 to the first of an ongoing “Windows On A Journey” initiative. South African singer, songwriter and composer Jonathan Butler inaugurated the series. The multi Grammy Awards artist presented a musical journey through his compelling life story. The cabaret setting enhanced his program. He is the first black artist to play on a white radio station in South Africa and said, “My weapon was love.”
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Washington Humane Society’s 25th Bark Ball


DC’s premiere black-tie event with four-footers as featured elegantly attired guests filled the Washington Hilton June 2. Megan Hilty, the star of NBC’s musical drama “Smash,” attended with an adoptable dog escort. Anissa Grossman and Beth Viola co-chaired the 2012 Bark Ball committee. ABC7 News senior political reporter Scott Thurman emceed at the dinner program with a live auction followed by dancing. The evening raised record funds to support WHS critical programs and services that benefit thousands of homeless, lost and abused animals. [gallery ids="100849,126604,126596,126588,126619,126580,126624,126572,126629,126636,126610" nav="thumbs"]

With ‘The Music Man,’ Innocents at Risk Honors Septime Webre


Innocents at Risk’s founder Deborah Sigmund offered yet another wonderful idea for the sixth annual “Evening To Benefit Innocents at Risk” at Arena Stage June 8 as guests enjoyed receptions before and after the enchanting “Music Man.” Sigmund called the evening’s honoree Septime Webre, artistic director of the Washington Ballet, our very own “music man” with his outreach to the community through DanceDC programs and THEARC. Sen. Scott Brown (R-Mass.) was honorary chair, and the emcee was Pamela Brown of ABC7/WJLA-TV and News Channel 8, who has championed the organization’s efforts to combat human trafficking. [gallery ids="100850,126649,126665,126641,126672,126633,126679,126625,126686,126657" nav="thumbs"]

Celebrating Countess Gertrude d’Amecourt at 102


While London was toasting Queen Elizabeth II at her Diamond Jubilee, Washington celebrated as well. On June 2, Princess Selene Obolensky welcomed friends and four generations of the honoree’s family to toast Countess Gertrude d’Amecourt, who at 102 years continues to exude her well-known charm. The elegant doyenne was serenaded at the piano by John Gardecki and surrounded by admirers. [gallery ids="102457,121011,121019,121024,121029" nav="thumbs"]

Princesses for a Day at VIP Pink Party


Some little girls living with cancer got the VIP Pink treatment June 2 in the garden at the Ritz-Carlton Georgetown, where they had a chance to escape reality for a few hours. The girls have a parent who is fighting cancer. They were deservedly pampered with music, manicures, make-up, a delicious candy bar, photos and even a photo shoot with Miss D.C., Sarah Elizabeth Hillware. Charity Chicks U.S. and We Will Survive Cancer co-hosted the uplifting event. [gallery ids="100851,126708,126700,126723,126692,126728,126683,126734,126673,126742,126716" nav="thumbs"]