Performance

Gary Tischler • April 14, 2015

Over the years, I’ve probably seen five or six productions of “Man of La Mancha,” the ground-breaking musical take on Miguel Cervantes’ classic tale of an aging, would-be knight errant who’s dubbed himself Don Quixote, beginning with a 1970s touring production starring the late Jose Ferrer, which I saw in San Francisco.

After seeing and experiencing the Shakespeare Theatre Company’s production, directed dynamically and unerringly by Alan Paul, I can say without reservation that I’ve never seen a better production than this one. Even while hewing fairly closely to the look and feel of other productions, Paul, a splendid group of designers and an outstanding cast have given the audience a production that looks and feels as fresh as it surely was in 1968 when the Lew Wasserman scripted play debuted on Broadway and won a Tony for best musical, with another Tony going to Richard Kiley in the lead.

The idea still seems exciting to me, even though I feared that it might be overly familiar—after all, everybody of a certain age must have hummed, or even tried to sing in a piano bar or the shower “The Impossible Dream.”

I needn’t have worried. The idea of a brightly—and slightly demented—retired solider and member of the landed gentry taking to horse and arms to take on evil and “beat the unbeatable foe” in a Spain beset by the Inquisition seems almost like an urgent mission today, in a world where every other person’s a cynic, and every third person is a victim of malady, oppression, terror and the stupidity of the governing classes.

“Man of La Mancha,” then and now, is a novelty among musicals, it stands almost in a class by itself, while carrying the trappings of American musical traditions, especially with a backpack full of insidiously unforgettable songs. It doesn’t resemble Rodgers and Hammerstein efforts—missing a certain sentimental elan– it doesn’t have the rock-pop boom of a “Hair”, a “Jesus Christ Superstar” or “Godspell,”,amid which it landed. And it doesn’t have the overpowering need to overwhelm the audience often characterized by the later efforts of Andrew Lloyd Weber and his ilk.

It has itself—a brilliant book by Wasserman, with music by Mitch Leigh and lyrics by Joe Darion—and the idea that you can create a major Broadway musical hit by going back into theater’s bag of basic tricks and let three enthralling characters and their fates carry the show to enduring fame.

I would guess to new generations not in thrall to old stories, “La Mancha” carries something of an extra kick—it lets the audience imagine itself into the play. Nothing fancy here—in “La Mancha’, theater is still a matter of improvising, using what’s at hand, allowing actors and would-be-actors to play their parts through imagination. The show follows both the dictums of Hamlet’s pep talk to the players and Sir Laurence Olivier’s idea that all you really need to put on a play is a fake nose, a few props and talent.

All of those things are present in abundance here—including the long-lasting gifts of Miguel Cervantes himself who not only wrote the original book in the early 1600s, but also serves as a principal character in “Man of La Mancha.” He and a squire have landed in a grimy, dangerous prison awaiting an interview with the Inquisition, always a terrible ordeal. He’s also in the hands of his fellow prisoners, who wait to grab all of his belongings, which include costumes, a trunk and a manuscript. The prisoners put him on trial, for which he will stage a play about the life and times of a certain Don Quixote, starring Cervantes himself. If it’s thumbs down, he loses everything.

So “Man of La Mancha” begins with a time-tested (see “Hamlet”) theatrical ploy, a play within a play. In it, Quixote, accompanied by his squire Sancho, does battle with windmills he sees as three-armed giants, encounters a roadside tavern, which he sees as a castle to protect, is knighted by the innkeeper as “The Knight of the Woeful Countenance,” mistakes a barber’s tool for a golden helmet, battles a gang of vicious muleteers, and most important of all, meets Aldonza, a hardened scullery maid and sometime prostitute, who, in his eyes is the adored-from-afar great lady Dulcinea, whom he loved with all of his fevered spirituality.

Nothing good can come of this, but in the fractured world of Quixote, he is in the thick of the fight for everything good. Aldonza is drawn to him, bewildered by his kind treatment of her. Sancho follows him because “I like Him” and his niece and her fiancé are embarrassed by him to the point of disaster.

Although the musical has always been touching and moving, there is hardly an ounce of cheap, or slightly more costly sentimentality in it—the songs, to be sure are stirring, but the setting—prison and inn, are rough, unprettified. There is the inquisition, the gang of thieving, murderous muleteers. There is rape. There is death.

And yet, you walk out of it feeling better by far for having been there. A major credit goes to Paul, who is only 30 and has won a Helen Hayes Award for the dazzling, hilarious magic act called “A Funny Thing Happened on the Way to the Forum. His direction—energetic, paced in a way so that the two-hour-without intermission show seems to go swiftly and in fulfilling fashion but somehow makes you want more.

Everybody brings something different to the roles—I’ve seen Ferrer, Raul Julia and Broadway dynamo Brian Stokes Mitchell in the role of Quixote, but for my money, the Australian actor Anthony Warlow, a veteran of numerous musicals, tops them all. He has a great baritone voice and pulls out the musical emotions from the songs, which reminds us that “The Impossible Dream” and “Dulcinea” and the rousing opener “Man of La Mancha”, are true Broadway songs. He’s a terrific actor and an even better singer.

Newcomer Amber Iman plays and sings the part of Aldonza with such gritty force that she almost steals the show—she embodies the part—the low to the ground woman “born in a ditch” and the idealized Dulcinea as two aspects of a very human woman. And Nehal Joshi has a wonderful and heartfelt, deadpan sense of comedic timing as Sancho.

“La Mancha” feels edgy still—even in these times when going viral is a virtue. It may not be brand new, but it’s a lot newer than what passes for much of the latest new thing. [gallery ids="102033,134818,134821,134820" nav="thumbs"]

Gary Tischler • April 13, 2015

As the smartly brief but epic musical “Freedom’s Song: Abraham Lincoln and the Civil War” moves to its inevitable end at Ford’s Theatre, a shot rings out, loud, sudden and startling – all the more surprising and emotionally powerful because it’s familiar, because we’ve been expecting it.

The sound comes from the hallowed presidential box. We know this because we know exactly where we are, if not in time, then certainly in history.

The moment is a punch, a kind of climax to the production at hand. It sparks a keen awareness of being here, in this theatre, and also that we are in the midst of the commemoration of the assassination of Abraham Lincoln on April 14, 1865. He and his wife Mary Todd Lincoln were at Ford’s to watch a comedy, “Our American Cousin,” starring the noted actress Laura Keene.

That box to the side of the balcony is always there and always has been. In many ways, it’s the reason for the theatre’s existence, and nothing accentuates that fact more than an anniversary of the assassination.

The same day that “Freedom’s Song” opened, a press preview was held across the street at 514 10th St. NW, the theatre’s Center For Education and Leadership, for the exhibition “Silent Witnesses: Artifacts of the Lincoln Assassination.” The small space is filled with artifacts: the overcoat Lincoln was wearing, the oh-so-small derringer used to kill him, Mary Todd’s black velvet coat and fragments of her bloodied dress, letters, the president’s top hat and so on. It is an intimate space and show, but hugely resonant with the “Freedom’s Song” production.

Both events are part of “Ford’s 150: Remembering the Lincoln Assassination,” a season-long series of events that began with the play “The Widow Lincoln.” A highlight of the schedule is “The Lincoln Tribute,” a round-the-clock event on April 14-15, with talks, a one-act play, a panel discussion and living-history presentations on 10th Street about the two days surrounding the assassination, including Lincoln’s death at 7:22 a.m. at the Petersen House.

The proximity of the “Silent Witnesses” exhibition to the “Freedom’s Song” production creates a kind of reciprocal poignancy. Knowing what Lincoln carried in his pocket – two pairs of spectacles and a lens polisher, a watch fob, a pocket knife, a wallet containing a five-dollar Confederate note, a linen handkerchief and, apparently, newspaper clips that included articles critical of him – adds something to his words as spoken by members of the cast of “Freedom’s Song,” the human, earthy, prosaic stuff of a great man.

It is not the first time that the presence of the box – the loca sancta, if you will – becomes important at a Ford’s production. Recent plays about Lincoln, a previous offering of the musical “The Civil War,” which forms the basis for “Freedom’s Song,” “The Rivalry,” “The Widow Lincoln,” “The Stars Hung in Black” and so on, resonate in ways that they could not do anywhere else. These days, visitors take selfies with the box in the background before the plays begin.

“Freedom’s Song” is a series of songs as vignettes, bringing us through the Civil War as if we are riding in a musical carriage. The difference is that the words – speeches, musings, outtakes, stories – of Lincoln have been added, creating another kind of effect altogether. They are spoken by members of the cast, a group of young performers playing Union and Confederate soldiers, slaves, mothers, wives and the like as the war rolls over them in ever larger waves.

Lincoln speaks through the cast: the Gettysburg address entire, words of emancipation, a droll story of the kind Lincoln loved to tell, words on the end of the war and so on, punctuating the proceedings with his singular eloquence as we move through them.

What director Jeff Calhoun and designers Tobin Ost (sets), Wade Laboissonniere (costumes) and Michael Gilliam (lighting) have done is to create an ambiance of the Civil War. What composer Frank Wildhorn and writers Gregory Boyd and Jack Murphy have done is to overlay the narrative with a march of Americana music, songs that demand tears, emotional responses, soaring hearts and reminders of the past – and how it might have been lived and lived in.

The songs are the essence of historical pop, staged like living and lively frescoes. Slaves huddled under a table sing powerfully about “The Peculiar Institution” and its horrors, a wife sings beautifully about missing her young farmer husband, Confederates soar with “The Last Waltz of Dixie” and carouse around “The Old Gray Coat” and a fugitive slave powerfully lashes out in “Father, How Long?”

American pop music plays on emotions – it’s what makes the Great American Songbook great, after all. The cast performs it more than well, especially Carolyn Agan as the wife, Kevin McAllister as the Fugitive, Nova Payton as the Storyteller and Gregory Maheu as the Union Private, an appealing young soul who practically has a Dead Man Walking sign on his back.

The music doesn’t match the eloquence of Lincoln’s words; the words have the effect of elevating the songs to a higher level.
The shot, when it comes, carrying with it echoes from the exhibition, is a jolt. You can hear people stop breathing for a moment. That, too, is part of the music in “Freedom’s Song” – that small gun doing so much damage, bringing us here to this place.

“Freedom’s Song” runs through May 20 and “Silent Witnesses” through May 25. [gallery ids="118143,118137,118132" nav="thumbs"]

Gary Tischler •

Harry Schnipper, executive director and owner of Blues Alley, recalled the first time he went to “the nation’s oldest continuing jazz supper club.”

“I was 17, I was a kid. It was 1968 and guitarist Larry Coryell was playing,” he said during an interview at the National Press Club. “I’ve been going there ever since, in one way or another.”

“In a lot of ways, it hasn’t changed a bit.”

And in a lot of ways, it’s changed a lot.

This is Blues Alley’s 50th anniversary year, and, physically, it hasn’t changed much at all. The sign is the same, and in the namesake alley, just off Wisconsin Avenue down from M Street, you have to jump back if you’re occupying the same space as a delivery truck.

Outside, a window displays Down Beat magazine signs from 2012 and 2014, designating Blues Alley as a Great Jazz Venue. Inside, it’s almost an idling time machine. It’s Friday afternoon, and Senegalese guitarists Cheikh Ndoye and Baaba Maal and their group are setting up on the small bandstand, presided over by the classic Blues Alley logo, a tuxedoed player hunched over his trumpet.

There are amps and bongo drums and instruments all over the lit stage. Japanese pianist Manami Morita, who’ll be playing with the gang that night, is tuning things up on the piano. Manager Chris Ross, stepson of former owner John Bunyan, is overseeing things.

The bar is still smallish, not enough to host a rugby team, with the usual bottles of high-end blends and bourbons and what not. The posted sign says Capacity 124. Nearby are rows of black-and-white photos of performers who have appeared at Blues Alley, from stars like pianist Ramsey Lewis to relative newcomers like trumpeter Sean Jones.

The pictures are resonant of an international reputation. The storied history of Blues Alley as a place where big names got their start, and where bigger names came back time and again, have given the place a vibe that is indicative both of excellence and of the changing, swiftly expanding world of jazz.

The list of names is actually kind of astonishing: Lewis, Monty Alexander (still rolling hot), Mose Allison, Tony Bennett, the late jazz guitarist Charlie Byrd (who opened up his own place down the street for a time), Steve Jordan, Les McCann, Oscar Peterson, Charles Mingus, Peter Nero, Max Roach, Sonny Rollins, George Shearing, the sublime vocalist Sarah Vaughan, Grover Washington, Jr., Nancy Wilson, Ron Holloway, Ahmad Jamal, Stanley Turrentine and Earl “Fatha” Hines.

And, of course, there was the great jazz ambassador with the big cheeks and the wholly original style: Dizzy Gillespie, the pioneering trumpet player who took bebop beyond Charlie Parker and brought it into the mainstream. Gillespie was closely associated with Blues Alley. He was honorary chairman of the Blues Alley Jazz Society, which – along with the Blues Alley Youth Orchestra, to which he lent his time and name – are thriving under Schnipper as audience- and artist-building non-profit enterprises.

Schnipper is an organized kind of guy. He knows what he wants to say, he has a plan, a schedule. But the more you talk with him, the more you see a guy who’s driven by a passion for jazz. There isn’t any question that Schnipper – who’s also an adept and busy businessman and real estate broker – is still smitten with jazz. He keeps his eye on every table and napkin in Blues Alley, and seems to remember every note from a quartet, a sax, a vocalist, that he’s ever heard there.

“The thing about this is that you really get to know all the players, the musicians, the performers. People have built their careers here.”

Notable among them is Wynton Marsalis, without question jazz’s reigning superstar. In December of 1986, when he was just 26 years old, he recorded “Wynton Marsalis Live at Blues Alley.” Other “Live” albums followed, including one by the haunting local vocalist Eva Cassidy, who died of cancer, age 33, in 1996.

A musician, clarinetist Tommy Gwaltney, opened Blues Alley in 1965, but it was Bunyan – a businessman who loved jazz unabashedly – who steered it to prominence, to the point that big-name musicians played there regularly.

This year is also the 30th anniversary of the Blues Alley Jazz Society. Schnipper, who came on board in the mid-1990s, likes to use the title of executive director, which is a job description, but in truth, he said, “I am the owner and have been so since 2005.”

With the two nonprofits, the Jazz Society and the Youth Orchestra, “we look to the future,” he said, “Jazz is different now.”

“We’re educating young musicians through the society and the orchestra. This, in turn, at some point, expands the audience, and expands the world of emerging artists.” Schnipper was named the Mid-Atlantic Jazz Festival’s Jazz Educator of the Year in February.

In many ways, the operation is a word-of-mouth happening that has persisted for five decades. While Georgetowners like the idea of Blues Alley and its international cred and rep, they don’t make up the bulk of the club’s audience. “Tourists, people from all over who have heard of the place“ are the majority, said Schnipper. “You can travel abroad in Europe and Asia and other places, and people know Blues Alley.”

Programming is changing, too. Blues Alley now sponsors a yearly Big Band Jam with a tribute theme, featuring top-notch players. This year’s jam – the eleventh – is a special tribute to the “Ella and Louis Legacy,” with Sean Jones as artist-in-residence. It will be held April 18-30 at venues including (besides Blues Alley) the Kennedy Center, Pershing Park and THEARC in Ward 8.

“Jazz itself is like this big umbrella, and it includes its roots, different kinds of music. Its singular core is improvisation, which is why it is such an appealing live performance event,” said Schnipper. “One of the things you’ll see just looking at the schedules and calendar is the variety – lots of emerging musicians and artists, but also established stars, and groups and artists from around the world. But we try to present the whole world of jazz.”

Check out Blues Alley’s rich, full-of-stories website and you’ll get a sense of that world.

He calls his wife, Madeline (they’ve been married 21 years), “the glue that holds the place together. She does everything here, and she knows everything.” An attractive, warm and straight-talking redhead, you can find her in the booth upstairs where the lights and sound get turned on, or all over the place.

Ross, the manager, pointed to the Green Room. “When Eartha Kitt sang here, she complained that there wasn’t a window in it. So we had an artist paint a window on the wall. That’s why this painting’s here.”

“In the end, this place, any real jazz place, is about atmosphere,” Schnipper said. “The music, the lights, the people. Listening.”

In Blues Alley, there’s a “quiet, please” rule while the musicians play. Out of respect, for sure. But also because you might miss something: a note that hangs out there like a curve ball, a riff that goes to a place musically unmapped, a song that takes you tripping.

And at times like those, you can hear the backbeat musical whisper of everyone who’s ever played there.

Dear Georgetowner,

I just remembered that when we met last Thursday you encouraged me to contact you on or before today. First, let me say that I am sorry that you two could not attend that evening’s performance. The shows were a game-changer and shall evermore change the way we present music at Blues Alley. Furthermore, I wish to remind you that my two favorite jazz artists are probably Duke Ellington and Quincy Jones for their instrumentational/compositional/orchestrational and inspirational abilities.

Finally, we chatted about some of the more identifiable personalities that have graced the Blues Alley stage over the past five decades. Stand-out artists would include the likes of Dizzy Gillespie, Wynton Marsalis, Phyllis Hyman, Tony Bennett, Mary Lou Williams, Dave Brubeck, Sarah Vaughn and Billy Eckstine. Some of my own personal favorites include Dr. John, Miles Davis, David Sanborn, Boz Scaggs and Harry Connick, Jr. A compendium of all performers or performances should exist but regrettably does not. Thank you for honoring Blues Alley with our first feature article.
— Harry Schnipper [gallery ids="102022,134924,134916,134922,134925,134918,134920" nav="thumbs"]

Gary Tischler •

This week, a spry 92-year-old guy showed up at the Kennedy Center to give a lecture.

Close to thousands stood up and cheered.

As the man said, “Even this he got to experience.”

The man was Norman Lear, who in a long and productive life, gave us Archie Bunker, Meathead, Edith and the Jeffersons and Sanford and Son, “Good Times” and even “Mary Hartman, Mary Hartman” and with those shows and those characters left an indelible mark on the hearts and mind of what you might call the regular folks of America.

Lear gave the 28th Annual Nancy Hanks Lecture on Arts and Policy March 23, as a sort of pep talk to Arts Advocacy Day the following day on Capitol Hill. And what a whoop-dee-doo night it was. Folks nearly filled up the Concert Hall at the Kennedy Center and got a time well spent, for free.  

Lear was  there to give a life-and-times tall-tale sounding talk on a day that saw Republican Ted Cruz, the darling of the right and of the religious right, which fittingly is an old bête noir of Norman Lear’s,  announce his presidential run. There also was the 107-member Atlanta Symphony Youth Orchestra and the Voices of Inspiration for musical inspiration.

Not only that but there was the uncommon man  of the moment: Common, actor, composer, hip hop star, children’s book author and Oscar and Golden Globe winner for original song (with John Legend) for “Glory” in the film “Selma.”

Common noted that it was Lear shows like “Good Times,” “The Jeffersons,” “All in the Family” and “Sanford and Son” that allowed him to see himself and his people portrayed as part of the American cultural tapestry in a way that he could relate.

Lear’s memoir, “Even This I Get to Experience,” figured strongly and often in his talk,which was a riff on his life, and meaning, with asides to the importance of the arts in American life, especially in theses troubling times in which the arts, paradoxically, seem to be at once available in abundance in its delivery by new technology, but in danger of being robbed of their importance and stifled by that same technology.

Lear  walked onto the stage—not a very long journey—and received thunderous applause.   Lear showed he still knew his way around a set up and a punch line: “See, if I were 88 or something like that, why I’d still get applause, sure, but now that I’m in my nineties I  cross a room and I get an ovation.”

He was more than just being here—he had some things on his mind, and dealt with them with banter, comedic fury, a little anger, dispensing wisdom after having received it.  

He talked about his father, who ended up in prison during the depression, and about being left in the care of so-called uncles.  “They weren’t real uncles, and it wasn’t such a good thing.   One of my relatives  placed his hands on my shoulders, looked deep into the tear-filled eyes of a nine-year-old and announced with a smarmy solemnity, ‘Remember Norman, you’re the man of the house now.’ ”

“That’s when my awareness of the foolishness of the human condition was born,” he said.

He remembered when he breathlessly told his mom that he had been inducted into the Television Academy of Arts and Science—alongside David Sarnoff, Bill Paley, Edward R. Murrow and Paddy Chayevsky.  “My mother’s reaction was typically unforgettable. ‘Listen,’ she said. ‘If that’s what they want to do, who am I to say?’ ”

He’s a man who knows how to laugh at human foibles, including his own. “I blew my fortune investing in businesses, which I knew nothing about, to the point I might have had to sell my house.  I’d made plans to be cremated on my death, but my son-in-law talked me out of it. He said I want to take your grand-children to a gravestone that reads, ‘Even this I get to experience.’ ”

Lear took stock of the world, by reciting climate change, income equality, ISIS, and most damning for the arts, a dwindling lack of support not only from government, but from the populace. And yet,  he remains steadfast to the importance of art.

“Despite everything I see and feel, however, I don’t want to wake up the morning I am without hope,” Lear said. “We will save the world.” He called the arts one of the things that brings us together, which cause us to see and hear as one.  “We are then free to delight in or disparage according to our individual tastes, but in the embrace of art and beauty, still one.”

He decried a culture that was numbers driven, spiritually sterile, dominated not by exploration or art but by consumerism.

“Republicans never mention Eisenhower anymore,” Lear said. “He warned us about the military-industrial complex, to which he had wanted to add congressional.”

Lear was often accused of editorializing in his shows. To this accusation, he replied, “I realized I was a man in my fifties then. So, why shouldn’t I have a point of view?”

It was more than that—in a television world dominated by sitcoms from the 1950s like “Leave it To Beaver” or, worse, “The Beverly Hillbillies,” Lear’s “All in the Family” and all the rest stood out for their freshness, their authenticity about working class and middle class America and their empathy.  He imagined his way into the lives of others to the point that years later, someone like Common and hip hop artists praised him for seeing their lives.

That’s an unforgettable  achievement.  When he was honored by the hip-hop community for the impact of his shows, he got an answer to what he called the basic question: “What do a 92-year-old Jew and the world of hip hop have in common?”

A lot, as it turns out.

“It has taken  a lifetime to understand the importance of the audience as well as the performers,” Lear said. “It has taken me 92 years, eight months and a day to get there tonight to tell you that.  On the other hand, it has taken every minute, every split second of each of your lives to come to the Kennedy Center to spend this time with me tonight. “

“Add it up. I win. And even this I get to experience.”          

Gary Tischler • March 31, 2015

If ever there was a man who personally and professionally, by deed, experience, action, intelligence, diversity of roles, talent and, no doubt love, embodied the world of classical music in Washington, it was Norman Scribner, the founder and artistic director emeritus of the Choral Arts Society of Washington.

Scribner died Sunday, March 22, at his home unexpectedly.

Scribner’s life in the classical music community of Washington, and for that matter, in the country and world, was exceptionally full-bodied, well-rounded and touched the lives of many, many artists, and large audiences throughout his career. He was and remains best known as the founder of a unique arts institution in this city, the Washington Choral Arts Society, which he founded in 1965 and led for 47 years as its director in regular yearly concerts at the Kennedy Center.

Under his leadership, Choral Arts, an ensemble of more than 170 singers, became a national and world class chorus, which appeared with the world’s leading conductors and orchestras, made frequent television performances, made popular and acclaimed recordings and toured nationally and internationally. It would not be an exaggeration to suggest that he elevated the appreciation of choral music in this city, certainly, but also around the world.

The rest of his life includes a history of impressive checklists and accomplishments:

= Scribner assembled a professional choir (called the Norman Scribner Choir) to perform the world premiere of “Mass” for the opening of the Kennedy Center at the request of Leonard Bernstein. The choir also recorded the original cast recording of “Mass” as well as a Grammy-nominated recording of Hadyn’s “Mass in Time of War” in 1973.

= Was the staff keyboard artist for the National Symphony Orchestra—1963 to 1967.

= Was member of the choral panel of the National Endowment for the Arts.

= Produced the annual free Christmas and Spring festivals at the Kennedy Center.

= Was chorus master of the Washington National Opera.

= Prepared the annual Handel Festival.

= Was a well known composer—the choral symphony “Love Divine” was commissioned by the United Methodist Church.

= Became conductor of the American University Chorale and assistant organist at Washington National Cathedral after graduating from Peabody Conservatory.

= Was organist and choirmaster at St. Alban’s Episcopal Church, 1960 to 2007.

= Was a Washingtonian of the Year and a 1998 Mayor’s Arts Award for “Excellence in an Artistic Discipline” and the Peabody Distinguished Alumni Award.

Debra Kraft, executive director of the Choral Arts Society of Washington, wrote: “We are deeply saddened to confirm that Norman Scribner, The Choral Arts Society of Washington’s founder and Artistic Director Emeritus, passed peacefully and unexpectedly yesterday at his home. A statement from Choral Arts is forthcoming with details on funeral arrangements.”

Gary Tischler • March 26, 2015

I went to see the Washington National Opera company’s production of “The Flying Dutchman” at the Opera House recently.   The joint was jumping.  A fashion exhibition lined the entrance, glittering with blue, part of the Kennedy Center’s Iberian Festival of Spanish and Portuguese art, as was a live performance at the Millennium Stage.

Part of me was thrilled by the crowds, not only for the opera, but also the exhibitions and performance for the  center’s yearly arts festival focusing on a nation or region, which were part of former Kennedy Center President Michael M. Kaiser’s tenure. 

A part of me was also a little anxious. I had just finished reading “Curtains? The Future of the Arts in America,”  Kaiser’s latest book, a cautionary tome and vision of a troubled, struggling  American arts world now and 20 years hence. 

Kaiser, now the director of the DeVos Institute of Arts Management at the University of Maryland since last year, posits the problems now facing the American arts community, envisions that world 20 years from now and offers some solutions, one of which is for arts leaders to acknowledge and embrace the new technology, which is, for all intents and purpose, both the new delivery system for art and a road to new, more intimate venues.

“I don’t mean to make anybody depressed,” Kaiser said in a telephone interview with the Georgetowner.   “I’m not  suggesting that there will be no more art. I  am suggesting that the arts—performance art institutions and venues, as well as museums—will be very different, as will audiences.  You and I, and people of a certain age and generation, we’re used to consuming art in a certain way. You plan, for instance, to go to an opera at a certain time, on a certain night. You get dressed for the occasion,  same as you do for a play, a dance performance, a symphony orchestra concert or a jazz concert.”  

“But the newer generations don’t necessarily do things that way,” he continued. “They don’t prefer to do things that way. I travel all over the country, and I spend a lot of time in airports and I see how many people in airports are on their phones or tablets, often watching a show, a movie, listening to music.”

Kaiser has seen that many arts organizations are already heading toward using the new technology to build and grow audiences.  “It’s expensive, too expensive, to go to the opera, to concerts, and the theater,” he said. “More and more opera performances, for instance, are now being screened in movie theaters .”

Critics and arts writers—myself among them—often tout the fact that a  play, a concert and an opera, are authentic experiences of engagement with an audience, impossible to replicate on a screen.  Kaiser probably agrees with that, but he also suggests that new audiences don’t really care how they view or engage performance art or the visual arts, for that matter.   While art enthusiasts can debate authenticity all they want, the truth of the matter is that exhibitions, plays, operas, dance, music and the like can be experienced in different ways, more fragmented, and less expensively.

“Companies, producers and managers, in the past, faced with economic constraints and trouble, have tended to think they have two choices—raise prices or cut back on spending and resources, and produce tried-and-true popular projects that are popular with audiences,” Kaiser said.

In terms of content, Kaiser, who has warned about the high cost of tickets before, also insists that producers and managers need to raises their sights and be more adventurous.  “You don’t get new audiences with old works and hope that it works,” he said. “Performance arts companies need to do new work to be viable and vital. They need to take risks, engage with the world, challenge the audience. That’s what will bring in new audiences.”

But it won’t be easy. The odds, he suggests, are daunting, for several reasons. 

“The generations now coming into their own, into theater-going age and capability, are woefully under educated in the arts,” Kaiser said. “The emphasis on arts and culture in our public and private school system has declined dramatically. They come to the cultural marketplace absent a body of knowledge and desire.”

The decline of media outlets—and especially newspapers of old, which usually featured knowledgeable, professional and opinionated arts critics—is also a critical factor in the worrisome decline and problem of the arts in America, according to Kaiser. 

Also a factor is the erosion of a long-term donor class. “That generation of donors whom you could count on is dying out and donors have to be found from a new generation,” he said. “This generation, it’s been said, is more interested in politics or causes.  And if they get involved, they won’t do it at the level the arts are used to having from donors.”

Kaiser is concerned, not so much about large institutions like the Kennedy Center or the Metropolitan Opera, (although major opera companies and orchestras face the additional problem of labor costs and have been plagued by strikes), but about mid-level groups and institutions which are struggling to adapt and compete.   “I think you’ll find that large institutions will engage with, adapt to and use the new technology,” he said. “It’s already happening, with screenings and streaming of live performances. But smaller groups might not be able to compete.”

Kaiser’s thin book is pragmatic, structured and thick with facts, ideas and anecdotes, including telling and knowing observations about technology—and oddly, sports, where he finds similarities.

“Think about what happens, how sports have grown into this kind of eco-system that embraces delivery, technology and changing attitudes in the fans,” he said.   “This may happen to the arts to—what if we have an audience that doesn’t want to hear an entire symphony or opera, but just the highlights,” he said. “This is what happens in football and sports now.”

Much of what Kaiser talks about in his book—and I couldn’t recommend it more to anyone interested in the arts,  in plays, in music, in live performances—seems already on the horizons.  You see and hear more and more operas in English, there’s Opera in the Outfield, a screening of a WNO Opera at Nationals Park,  an emphasis on new and shorter work, the cross-pollenization of genres, the uses of add-ons in theater. Many theaters now add interactive aspects to plays—post-play discussions, quizzes, trivia games in the lobby and so on.

These days, Kaiser travels extensively. He still lives in Washington and is proud of his tenure at the Kennedy Center.  “I certainly miss the people I worked with there,” he said.  He writes a blog for the Huffington Post on topics  that range across the whole spectrum of the arts.

From the bird’s eye view of Washington, where the arts seem, with some notable exceptions, for the most part to be flourishing, Kaiser’s book is a warning about a rapidly and dramatically changing arts world .

There may come a time when “Dutchman” and Iberian nights — or the time in 2007 when Kaiser and Michael Kahn, the artistic director of the Shakespeare Theatre Company,  pulled together people and places of the D.C. arts community into a six-month “Shakespeare in Washington’ Festival — will be a fond memory.

Kaiser, who steered the Alvin Ailey Dance Company, the Royal Opera House and the American Ballet Theatre as well as the Kennedy Center, is more optimistic  and pragmatic than nostalgic by nature.  “I’m not predicting the end of the arts, “ he said.
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Gary Tischler •

Don’t be surprised this weekend if you should happen to be walking around downtown that you might hear the sound of a bagpipe playing.  Beyond that, it’s all surprise.

It won’t be the mournful tones of a pipe playing at a funeral, and it won’t be coming from a guy with a beard wearing plaid kilts,  marching in a parade.

It won’t really be a traditional bagpipe.   It will be a 34-year-old woman who lives in Greenwich Village, N.Y., and hails from Galicia, an autonomous community in northwest Spain, bordered by Portugal, Castilia and the Atlantic Ocean.  It will be Cristina Pato, a rising star bereft of genre except one: originality.

It will be Pato and her own ensemble, playing the gaita, a bagpipe instrument native to  Galicia, a place about which she’s almost as passionate as playing her music. 

In a concert presented by Washington Performing Arts, Pato will be at the Sixth and I Historic Synagogue at 8 p.m Saturday,  March 14,  with her band,  playing a kind of music that you’ve never heard coming out of a bagpipe, although it resonates with all sorts of cross-cultural ideas and feelings.    

It will be lively, jazzy, energetic, make-you-want-to-dance and feel joy,  revved up, buzzed by drums and accordion and bass, and Pato’s own sharing, get-it-out there personality punctuated by high-pitched yells , and a long way from marching Scotsmen in tribal uniform.

“It’s the music I grew up with,” she said.  “The gaito is from Galicia, and so am I. “ The gaita is an instrument limited in notes, but in Pato’s hands and way of playing, the possibilities expand enormously.

Watch her on YouTube videos, and you hear her emitting high-note yelps.  “I sing,” she says, “but that’s not me singing. That’s a joyful exclamation. I like joy.”

The music in some ways, and certainly the instrument, sound ancient, which is appropriate, given that the people of Galicia go back to the beginnings of man.  There are Gaelic influences here, which seems only natural, but also Middle Eastern, Latino,  African, Miles Davis, the Chieftains and Paqo D’Rivera are here—and all the exotic and not exotic corners of a world.

“My parents moved to Venezuela at one point and came back to Galicia,” she said. “I try to go as often as I can.”

A conversation with Pato  is a little like her music. The talk is fast, quick-moving from here to there, and it touches on a lot of things: the diversity and variety of music,  her band, which is very diverse itself, her influences, but always you come back to the ideas of place, region, home, and how nations sometimes try to stifle diversity. 

“With Galicia, it was about language and independence,” Pato said.  “Often, when one group dominates a country, it tries to take away the identity, culture and especially language of smaller groups within that nation.”

Nothing like that can happen with Pato around.  She is passionate about her native home, but in the process, she makes it universal.  I mentioned my own Bavarian roots within the framework of Germany, that the people there were known for their music, their culture, for a little bohemian side and for festiveness.  “Sounds like Galicia,” she said.  Sounds Irish too, for that matter.

Less you think Pato and her music are somehow insubstantial, think again.  This is not her first appearance in Washington this year. She came only weeks earlier as part of master cello player Yo Yo Ma’s Silk Road Ensemble, a much larger group with larger ambitions, a group in which she nevertheless manages to stand out.

Pato is part of the Silk Road Ensemble’s Leadership Council.  She has a Doctor of Musical Arts in Collaborative Piano from the Mason Gross School of the Arts at Rutgers University and has Masters of Music in Piano Performance and a Masters of Music in Music Theory and Chamber Music  and a Master of Fine Arts Degree in Digital Arts (Computer Music).  She is also the founder and director of Galician Connection,  a world music forum celebrated annually at Cidade da Cultura de Galicia.  In Galicia, she and her husband, bassist Juan Pedron, also have a rock band.    She is also a fan of Schubert lieders.

“The piano and the gaita,” she said, “are two sides of me, which are not incompatible.”

In truth, when Pato talks about music , it is really world music—all the influences that flow into her play, playing what appears to be an unwieldy instrument as if it were a tango partner.  

Watching her—whether online or on stage—you get a sense of the music, of her personality as she moves through the vibrant music from her album “Migration.” National Public Radio called her music “wild and wonderful,” which is a nice description of a woman the Wall Street Journal called “one of the living masters of the gaita”. 

This is music that bonds people. “It is so easy to see how we are all connected and speak  the same language when it comes to the music,” Pato said. “The energy builds during a performance and I value the energy that flows between me, the audience and the other players. That is a moment of pure magic.

Magic she is.
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Caitlin Franz •

The Annapolis Film Festival runs from March 26 through March 29, featuring more than 70 films at venues along West or Main streets and including St. John’s College and Maryland Hall for the Creative Arts. Visit annapolisfilmfestival.com for complete show times and film listings. Each screening will cost $12; a festival pass, $105.

The event will feature question-and-answer sessions and panel discussions. Don’t miss the Oscar-nominated documentary, “The Act of Killing,” which showcases members of an Indonesian death squad reenacting the murders they committed.

The Bethesda Film Fest takes place on March 20 and March 21 at 7 p.m. and 9 p.m., featuring five short documentaries produced by local filmmakers. The event includes a discussion with the filmmakers after the screening at Imagination Stage, 4908 Auburn Avenue. Tickets are available for $10.

The Environmental Film Festival provides you with nearly two weeks of film screenings from March 17 to March 29. More than 150 films will explore topics ranging from climate change to endangered wildlife to clean-water issues. The festival will feature several local, national and world premieres. Venues are all around the city from the National Arboretum to embassies and theaters.

Filmmaker Luc Jacquet (“March of the Penguin” and “Ice & Sky”) will present a survey of his films, including a new piece.

Visit DCEnvironmentalFilmFest.org for more information. Selected films will cost $10 to $12; others will be free. This year’s festival goes is partially funded by a $15,000 contribution from the National Endowment for the Arts.

The Northern Virginia Jewish Film Festival, featuring 16 films, will run from March 19 to March 29. Its opening night will take place at Theater J and the other screenings will be shown at Angelika Mosaic. Some films will have a focus on the Jewish faith, while others will offer non-sectarian views by Israeli artists. Each showing will cost $12, and a pass for the whole festival is $64.

Some highlights include “The Green Prince,” based on the memoir of Mosab Hassan Yousef, a Palestinian who spied for Israel, and “Above and Beyond,” which is about the early days of the Israeli Air Force.

Gary Tischler • March 19, 2015

Washington Concert Opera  is known for putting on rare productions of sometimes legendary or little known operas.  “Guntram,” Richard Strauss’s first opera from 1894, certainly fits the bill, and it will be performed at George Washington University’s Lisner Auditorium Sunday, March 1.

Last produced for the first time in the United States 32 years ago, “Guntram” is a kind of two-for-the-price-of-one opera  in the sense that it presages both the great and later operas of Strauss, such as “Der Rosenkavalier,” and mightily echoes strong Wagnerian themes and operas.

“Guntram” premiered in May 1894 at the Grossherzogliches Hoftheater in Weimar, Germany, and later in Munich and Frankfurt—and then in Prague, part of the Austro-Hungarian Empire at the time. It was not considered a failure after its debut, which may account for the lack of later performances and interest.

In 1940, Strauss revised and trimmed the opera, making it  a more readily accessed work for audiences. But the plot—and the music—remains Wagnerian in scope and approach. Wagner was an idol of the young Strauss,  and Strauss took on the task of writing the libretto which is Wagner to the core. 

“Guntram” concerns a sweet, brave minstrel knight—middle Europe and the lands of Germania were full of such swains in medieval times—named Guntram, who sets out, as knights were wont to do, to promote kindness, peace and brotherhood. Instead, he manages to kill the husband of the woman he loves.  German to the core, Guntram renounces pleasures of the flesh and departs to contemplate and to suffer deep, guilty feelingst—perhaps not real life but operatic and surely Wagnerian.

Plot in opera isn’t everything and the Washington Concert Opera’s artistic director and conductor Antony Walker (who is also conducting “Dialogue of the Carmelites” at the Washington National Opera) saw a work that “heralds a new period in his [Strauss’s] compositional maturity.”

The Washington Concert Opera is presenting the 1940 version which trimmed 45 minutes of music and, according to Walker,  “turns what was a slightly unwieldy work into a tightly dramatic and beautiful opera. As well as using Wagnerian inspired leitmotifs and philosophical ideas, Strauss clearly presents us with the beginnings of a very personal operatic style: through his daring use of harmony, the virtuoso demands of the orchestra and the very “modern” idea that concludes the opera. Walker is in his 13th season at the Washington Concert Opera.

Because of the demands of the music, the Washington Concert Opera orchestra has been increased to 65 musicians.

The cast is led by artists who know their way around both Strauss and Wagner.  Critically acclaimed for heroic Wagner roles, tenor Robert Dean Smith takes on the title role, with soprano Marjorie Owens singing Freihild.  Smith, who lives in Switzerland,  starred at the 1997 Bayreuth Festival in “Der Meistersinger.”

This performance will be only the second American production: the first was a production by the Opera Orchestra of New York in 1983.