Arts & Society

Gary Tischler • September 12, 2013

When it comes to composing music, the 61-year-old British composer George Fenton has done just about everything—composing music for films, plays, television, even in his youth slinging a guitar in a rock band.

But when he talks about his work on “Frozen Planet,” for which he composed the score, you get the idea that the whole experience—it’s part of three BBC Naturalist Film Documentaries which include “Blue Planet” and “Planet Earth—has utterly moved him.

Fenton will be conducting the National Symphony Orchestra at Wolf Trap’s Filene Center Friday, June 28, while “Frozen Planet,” a two-hour distillation of the multi-part BBC Series will be viewed giant-screen style by the audience.

“It’s quite an experience, I must say,” said Fenton, who is a veteran of more than 70 films, including Richard Attenborough’s “Gandhi” and “Cry Freedom,” as well as “The Fisher King” and “Groundhog Day.” “It’s unlike anything I’ve ever done.” He has worked on a number of wildlife television programs for BBC, which marked his entry into big budget wildlife documentaries.

“It’s something new, certainly, but I feel, as I’ve gone along, that it’s very important work,” he said. “I went with the film-makers to the Arctic Circle for a time on location, and it was a revelation. It’s overwhelming, profound, the life forms, the rhythm of life there, the grand sculptures of ice and landscape, the creatures there. And, while I’m no expert, you get a real sense of something passing, too. You know the icecaps are melting. You’re keenly aware of what’s happening.”

Fenton’s work—looking at some clips gives you a fair sense of it—it’s at turns epic, sweeping, playful (when the penguins make their appearance as the crowd pleasers they are), moving, and sometimes, you get a sense of the delicate and dangerous balance in the arctic worlds that exists today.

“Yes, there is a sense of loss, because of the awareness of the disappearance of species,” he said. “But the feeling you truly get is one of awe and power.”

Being there, conducting in the pit, also lets Fenton appreciate just what these concerts are, which is a new kind of performance and film experience for audience. “I would say it’s a new form, in a way, because it mixes music and film together, but in a way that’s unique,” he said. “In a concert hall, people tend to still and listen with rapt attention, focused. In a movie theater, the music is full of cues for audiences, emotional cues even as the audience’s attention is trained on the film. In a setting like this, the audience feels more free to become involved, and I think the music is a key to that. For example, the audience is vocally thrilled and responsive to the animals. They laugh at the penguins. They’re impressed by the whales and polar bears. It makes for a unique experience, for myself and the orchestra.”

Writing music for films, Fenton feels, has changed over the decades. But he’s a deep admirer of the old Hollywood composers—like Max Steiner, famous for “Casablanca” and Korngold for “The Adventures of Robin” and later the hugely prolific John Williams, Steven Spielberg’s composer of choice.

“The early composers worked in the old Hollywood studio system and, of course, worked on all sorts of films,” Fenton said. “But the best of them—if you listen to their work—they wrote music that could stand on its own. I was inspired by them, and I’m a huge admirer of Williams and Henry Mancini.” Fenton also worked with director David Frears on television and in films like “Dangerous Liaisons,” “Hero” and “Mary Reilly.”

For “Blue Planet,” Fenton won the Ivor Novello, BAFTA and Emmy awards for Best Television scores, which was then followed by “Blue Planet in Concert.”

“We’ve taken the concept in venues all over the world,” Fenton said. “It’s been an exhilarating experience.

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“Frozen Planet” is part of the National Symphony Orchestra season at Wolf Trap. Other season offerings include:

“Jerry Garcia Symphonic Celebration”—a celebration of the work and compositions of legendary and late leader of the Grateful Dead, with vocalist and guitarist Warren Haynes, June 26, 8:15 p.m.

“Carmina Burana”—the NSO and soloists from the Wolf Trap Opera Company present Carl Orff’s choral masterpiece along with Mussorgsky’s “Pictures at an Exhibition,” July 12, 8:15 p.m.

Also:

“Video Games Live: Bonus Round!”—fusion of big screen game visuals and live music, July 13.

“La Traviata”—the Wolf Trap Opera Company, the NSO and the Washington Chorus join forces for this grand opera, July 19.

“1812 Overture”—Tchaikovsky’s great work, along with Rachmaninoff’s “Second Piano Concerto” by piano prodigy Benjamin Grosvenor, July 26.

“America the Beautiful”—featured in “Ansel Adams: America,” composed by Chris and Dave Brubeck with Adams’ photographs on big screens, along with works by Copland, Gershwin and John Williams, July 27.

“Wicked Divas”—diva show-stoppers from “Titanic,” “Wicked” “Phantom of the Opera” and other works, performed by veteran Broadway soloists and the NSO; directed by NSO Principal Pops Conductor Steven Reineke, July 28.

“Singing in the Rain”—HD version of the classic Hollywood musical shown on big screen, with Gene Kelly, Debby Reynolds, Donald O’Connor and the incomparable Cyd Charisse with the NSO playing the orchestral score, August 3.

Georgetowner •

On the phone, you can still hear a little bit of a few accents in Mackenzie Warren’s voice—a little touch of South Carolina, where she’s from, some Oklahoma where she graduated from the University of Oklahoma and a touch of high-energy show biz, which may be due from touring, tapping and performing over the United States and Canada in the national touring company of Cole Porter’s audience-pleasing-and-wowing musical “Anything Goes.”

Not only is Warren on her first national tour, she’s understudying the lead role of Reno Sweeney, the brash, glamorous headliner for this dizzying musical comedy with music and lyrics by the inimitable Porter, a part played with pitch-perfect razzle dazzle by star Rachel York.

The company has settled in for one of its lengthier stays—from June 11 through July 7—at the Kennedy Center’s Opera House which gives Warren and the rest of the company a chance—here and there—to take in the sights and sounds of the nation’s capital.

“I guess you could say this is my big break,” Warren said. “It’s a wonderful opportunity, an amazing opportunity. I’ve never had a chance to travel much, but with this tour we’re going zig-zagging across the country to places I’ve never seen before—from California to Minnesota. We’re flying all over the place, sometimes just for a few days, sometimes longer like here which is almost a month. It’s a great experience—settling in, doing the laundry, always getting ready. It’s really exciting.”

Plus, she’s been on stage doing Reno Sweeney already—“In Tuscon, Ariz., for a two or three times,” she said. “Honestly, that first night, I don’t remember what I did, it’s like a blur. But you get over the nerves, you stop being scared, and you settle in and in get comfortable in what you’re doing. And it’s just the biggest thing in the world. Those two numbers we’re you’re going from “Anything Goes” and all that tapping, it’s just an electric thing. There’s the break and then you swing into “Blow, Gabriel Blow.”

“Two of us are understudies, as well as being part of the ensemble,” Warren told us. “When you’re traveling so much and spending this much time together, you become like a family. We’re all professionals now, but you’re sharing a big experience, too, helping, competing, being together. Rachel York is just amazing to be around. She’s so terrific in this, and she has her daughter along on the road. Her name is Olivia. She’s two years old, and all of us girls spoil her rotten.”

Told the tap dancing in the production is just deliriously fun, she replied, “Isn’t it great? I have been tapping, I think, since I was 12. It’s just something that I love doing. It makes people happy. It looks easy, but it isn’t—all that practice. It’s tricky. Your upper body is swinging, in rhythm, while your feet and legs are moving really fast. It’s not easy, but it’s great.”

Warren, while she’s from South Carolina, is an Oklahoma Sooner through and through. “Truthfully—what I liked about OU was that it had a top-notch performing and theatrical arts program,” she said. “And it had a great football team. You can’t get better than that.” At Oklahoma, she was in a university production of “Anything Goes” along with Aaron Umsted, an OU graduate and friend, who—lucky them—is with the company understudying the part of Billy Crocker, the leading man in the show. “It’s great to be doing this with him,” she said. “It’s having a friend right at the start.” Warren and Umsted both had to take over the lead roles during for a performance during the Los Angeles part of the run in December.

If you look at the road schedule for the show, it’s like one gigantic road trip to everywhere USA, a genuine American spot of show biz and Broadway sparkle and glam traveling across the land. It brings with it the resonant glow of American musical theatre, done by the kind of folks who probably dreamt about being in a show like this for years.

“All these names, Ethel Merman or Patti LuPone, you read about people like that,” Warren said. “So, we’re all going behind some big footsteps.”

“Anything Goes” stops in November in at the Peace Center in Greenville, S.C. “It’s close to my home,” Warren said. “My mom’s coming. I guess it will be Mackenzie fan club night,” she said laughing.
The national tour company began back in October 2012 and will eventually wind down in November. For Warren, and the rest of the company from stars to ensemble, it will have been a real American journey, accompanied by the sound of tapping and many hands clapping.

Kelley Hudak •

The 19th annual U.S. National Arboretum’s “Cookout Under The Stars” celebrated the bountiful state in America’s Heartland — Iowa. More than 600 guests dined on Iowa-sourced cuisine among notables, such as the Iowa Congressional Delegation, Congresswoman Loretta Sanchez and Secretary of Agriculture Tom Vilsack. Iowa’s Senator Tom Harkin was honored with the gift of an apple tree cultivated from an ancestor of the Hawkeye, the original strain of the Red Delicious apple.
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Georgetowner •

The Leukemia & Lymphoma Society held its annual Man & Woman of the Year Grand Finale Awards Gala at the Ritz Carlton in D.C. earlier this past month. This is the 22nd year for the event, which aims to bring cancer awareness to the public, put an end to such diseases and overall improve the lives affected by the illnesses. Fox 5 News’ Laura Evans hosted the gala. LLS with the 19 honored men and women raised over $1.145 million for cancer research. [gallery ids="101384,153772,153764,153769" nav="thumbs"]

Mary Bird •

On July 17, more than 60 of Washingtonian magazine’s 100 Very Best Restaurants offered samplings to more than 2,000 guests at the AT&T Best Of Washington party at the National Building Museum. The annual event supported the Leukemia and Lymphoma Society’s research to find cures for cancer of the blood. For more than 30 years, Washingtonian readers have voted for the best people, places and services in the area. Participating restaurants included Bibiana, Bourbon Steak, Central Michel Richard and Et Voila! alongside ever so many specialty cocktails, beers and wines. [gallery ids="101416,154957,154942,154949,154943,154947,154953,154956" nav="thumbs"]

Georgetowner •

AFI Docs with Audi had a gala screening of the documentary, “Herblock: The Black & White” on June 20. The screening was part of the 2013 AFI Docs Film Festival, which ran from June 19 to 23. “Herblock” is directed by Michael Stevens, produced by George Stevens, Jr, and recalls the story and reach of the political cartoonist and his 55 years at the Washington Post. A panel on Humor in Politics, full of film makers, producers and writers, was also hosted the day of the screening. This was the 11th edition of the AFI Docs, previously known as Silverdocs.

Georgetowner •

The 5th Annual D.C. Newsbabes Bash for Breast Cancer took over the Hamilton June 27. Gals dressed in hot pink, mauve or purple. Guys were happy to join in or simply cover the frisky event. WUSA’s JC Hayward, a cancer survivor, joked about asking her doctor to lift up her other breast. While wearing the identical dress as younger news colleague Lesli Foster, the 69-year-old Hayward called her a “hussy.” All in good, clean fun with the other TV stations’ newswomen to benefit the Howard University Cancer Center–at least $10,000, so far. [gallery ids="101382,153747,153742,153737,153732,153726,153759,153719,101383,153763,153713,153767,153753" nav="thumbs"]

Mary Bird •

Carol Schwartz, a three-time candidate for mayor and the only Republican candidate since the restoration of home rule to garner more than 30 percent of the vote, teamed up with news personality J C Hayward to support the Animal Rescue League (WARL) at Schwartz’s art-adorned Kalorama glamour apartment on June 26. J C quipped “we went to Costco last Sunday” as a guest shot back “Thelma and Louise.” Given the state of the art WARL facilities, it was no surprise to hear “our pets live better than some people.” Matt Williams summed it up when he said WARL is “a regional resource with a national impact.” [gallery ids="101381,153716,153685,153712,153691,153708,153697,153703" nav="thumbs"]

Mary Bird •

On June 25, Ambassador of Hungary György Szapáry hosted a kickoff reception at his residence for the Smithsonian Folklife Festival which this year showcases Hungary’s heritage, culture and artistic traditions. He thanked Hungarian-born Aniko Gaal Schott who had found and decorated the residence. Deputy Prime Minister Dr. Tibor Navracsics expressed his appreciation to loyal supporters of the arts Adrienne Arsht, Ina Ginsburg, Nina and Philip Pillsbury and Ann and Bill Nitze. Smithsonian Under Secretary for History, Art and Culture Richard Kurin said over 100 Hungarians had been busily erecting “a new monument on the Mall” for the Festival which will run through July 7. [gallery ids="101380,153688,153660,153683,153666,153679,153673" nav="thumbs"]

Mary Bird •

On behalf of Northern Trust, NWMA Trustee Joanie Stringer welcomed guests to “American People, Black Light, Faith Ringgold’s Paintings of the 1960s” at NMWA on June 18 to hear “a great artist and a marvelous storyteller” discuss her artistic trajectory in conversation with co-curators Thom Collins of the Miami Art Museum and Tracy Fitzpatrick of the Neuberger Museum of Art. The 49 forceful and at the time often controversial works chronicling the start of the Black Revolution will be on display into November.
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