Performance

Gary Tischler • July 26, 2011

At the Playhouse
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Move over, New York. Here’s a look at some promising theater productions to send off Washington’s fall theater scene, rapidly securing status as one of the best in the nation.

The Return of Sarah Ruhl
The Woolly Mammoth Theatre on Sixth Street kicks off its season early and with one of the most intriguing productions of the season, “In the Next Room, or The Vibrator Play,” which starts Aug. 23 and runs through Sept. 19.The play is about the unintended or unanticipated consequences of new technology.

Sounds dry, but it’s anything but, not when the new tech is a little electrical device that landed in the medical community around the same time that electricity started to be used everywhere. The device is supposed to calm female hysteria, but it creates havoc in the households of patients and doctors instead because …well, you can guess from the title.

But that’s about all you’re going to be able to guess, because the play is the work of Sarah Ruhl, one of this generation’s most gifted and unusual playwrights. Now in her 30s and a mother of young twins, Ruhl has been very, very good to Woolly Mammoth, the theater du jour for new and cutting-edge works, with productions of her celebrated “The Clean House” and “Dead Man’s Cellphone” enjoying popular and critical success there. “In The Next Room” was the talk of New York during its run.

Expect nothing: one of the hallmarks of Ruhl’s work is that her characters don’t say or do what the play’s situation might indicate they would do and say. The Woolly Production is directed by the very busy Aaron Posner and features Woolly regulars Kimberly Gilbert and Sarah Marshall.

A ‘Sanctified Show’ at the Lincoln Theatre
The new award-winning gospel comedy “Sanctified,” by Javon Johnson, hits the Lincoln Theatre in October, with original (and presumably with gospel flair) music by Derrick Sanders, running Oct. 21 through Nov. 14.

“Sanctified” won six 2009 Black Theater Alliance Awards. The play follows the fortunes of the East Piney Grove Baptist Church when it tries to stave off financial woes by entering a gospel revival.

I’m Henry the Eighth, I Am
No, this isn’t the Herman’s Hermit song, but it IS a rarely done production of “Henry VIII” by William Shakespeare, presumably the last of the Bard’s works, which comes complete with some authorship issues and the fact that the Globe Theatre burned down during its run. The Folger Theatre will be doing the royal honors beginning Oct. 12. Ian Merrill Peakes plays the king, who’s a big hit on Showtime’s “The Tudors.”

‘Something You Did’ is Something to See at Theater J
Theater J also gets an early jump on the season with its production of “Something You Did,” a new play by Willy Holtzman about a group of people trying to reconcile their youthful radicalism with who they are now. Rick Foucheux stars as a former radi-lib turned neo-con media star and Deborah Hazlett plays a woman serving a 30-year prison sentence for an anti-war bombing in which a police officer was killed. (Aug. 28 through Oct. 3).

‘The Scarlet Letter’ and ‘Dinner With Friends’
Something old and something new at Olney Theatre, where Artistic Director Jim Petosa presents the area premiere of Donald Margulies’s Pulitzer Prize-winner “Dinner With Friends,” about two couples enduring a divorce (Aug. 25 to Sept. 26). The National Players, at 60 America’s longest-running touring company, will bring their production of an enduring American classic, Nathaniel Hawthorne’s “The Scarlet Letter.” (Sept. 17-18).

Checkmate at ‘Chess’
Signature Theatre in Shirlington got way ahead of everybody by resurrecting the popular rock musical of yore, “Chess,” for a run through Sept. 26. Directed by Signature’s guiding light Eric Shaeffer, with lyrics by Tim Rice (“Jesus Christ Superstar” and “The Lion King”) and music by the folks who brought you “Mamma Mia,” “Chess” is about an American and a Russian competing not only for chess supremacy but the love of a woman. What else could it be?

A New Era for Studio Theatre
The venerable 35-year-old Studio Theatre will not have Joy Zinoman as its artistic director this season after her retirement. Instead, there’s young (35) star David Muse, who’s directed “Blackbird” and Neil LaBute’s “Reasons to be Pretty” at the Studio and scored successes at the Shakespeare Theatre.

Two on-the-edge and talked-about playwrights will kick off the season at Studio: Annie Baker’s “Circle Mirror Transformation” begins Sept. 8. In this play, all the world’s a stage, especially at an amateur theater class in Vermont. “Circle” is followed by “Superior Donuts,” a new comedy by the talented and ambitious Tracy Letts, who hypnotized audiences with her three-hour-plus family saga “August: Osage County.” (Begins Nov.10.)

‘Sabrina’ Is Back…
And she’s not a witch. Rather, it’s the charming, twice-made-into-a-movie play about a chauffeur’s daughter who manages to charm two brothers who are members of the rich super-business class. The play, 50 years old or so, is about things that still matter: class, race, economic divides and, of course, romance. (Audrey Hepburn dazzled William Holden and Humphrey Bogart in the first film.) “Sabrina” starts off the Ford’s Theatre season Oct. 1.

…So Is Sam Shepard’s ‘Fool For Love’
The Keegan Theatre — home of both classic Irish and American theater — is bringing back playwright (and sometime actor) Sam Shepard’s most popular play, “Fool for Love,” at the Church Street Theater Oct. 16. It’s a brawling, sexy play about the outer edges of love and hate, sex and violence when Eddie and May go at it in a hotel outside the Mojave desert.

Let Your ‘Hair’ Down at the Kennedy Center
The first true musical heralding the Age of Aquarius and rock ’n’ roll is coming to the Kennedy Center Opera House Oct. 16 for a run through Nov. 21. “Aquarius,” “Hair,” “Let the Sun Shine In” and a host of songs your parents (or grandparents) might still be humming are back along with really long hair, hippie girls, afros and the Vietnam War.

Paddy Chayefsky Was the Man
Paddy Chayefsky didn’t just author the screenplay of “Network.” He was a pioneering playwright for television (“Marty”), won Emmys and Oscars and was something of a prophet with some of his socially conscious plays. “The Tenth Man” is relatively mellow and optimistic, a fable about love and faith, of all things, even though it’s about a Jewish exorcism. It plays at the American Century Theater in Arlington’s Gunston Arts Center beginning Sept. 17.

A Lope De Vega Classic at Gala Hispanic
In “El Caballero de Olmedo” (“The Knight of Olmedo”), a play from Spain’s golden age by a playwright often compared to Shakespeare, two lovers get caught up in a tragic rivalry between two Spanish towns. Lope De Vega’s classic kicks of Gala Hispanic’s season at the Tivoli Theater in Columbia Heights beginning Sept. 17, a collaboration with the Spanish company Accion Sur.

‘The Talented Mr. Ripley’ at Round House
Patricia Highsmith wrote nasty, quirky crime novels, of which “The Talented Mr. Ripley” — with its murderous anti-hero — is the most famous (Matt Damon played Ripley in the film version). Now it’s a play by Phyllis Nagy, adapted from the novel and gracing the stage at the Round House Theatre in Bethesda beginning Sept. 8. A regional theater premiere directed by Blake Robinson.

Two Openings for The Shakespeare Theatre Company
Shakespeare Theatre will keep both of its stages busy this fall, starting with “All’s Well That Ends Well,” directed by Michael Kahn and featuring Marsha Mason at the Lansburgh Theatre beginning Sept. 7.

For something entirely different, and for anyone seeking some clue about what’s going on in Afghanistan, there is the visit of the Tricycle Theatre company from the United Kingdom, which is bringing the three part play (actually 12 short plays) “The Great Game: Afghanistan,” which traces Western involvement in Afghanistan from its English, Russian and American ventures. It’s at the Sidney Harman Hall Sept. 15-25.

And, A Shakespeare Special for Free
The Shakespeare Theatre Company’s annual Shakespeare Free For All is alive and well August 19-September 5 with a production of “Twelfth Night” at Sidney Harman Hall. Visit www.shakespearetheatre.org/about/ffa to enter the ticket lottery.

Scorched In Silver Spring
Along somewhat similar lines, “Scorched,” Lebanese-born playwright Jajdi Mouawad’s haunting play about twins going to the Middle East to search for their heritages, will premiere in D.C. at the Forum Theatre beginning Sept. 30 at the Round House Theatre’s Silver Spring venue. Forum received major critical praise and two Helen Hayes Awards for its awesome production of “Angels in America” last year.

From Page to Stage at The Kennedy Center
For anyone wanting to get an idea of the scope, range and volume of theater in the Washington area, the Ninth Annual Page to Stage New Play Festival at the Kennedy Center is worth a visit. It features the works of more than 40 metropolitan D.C. theaters in free readings and open rehearsals of plays and musicals under development. Take your pick with works by Adventure Theatre, the Doorway Arts Ensemble, the Folger Theatre, the Georgetown Theatre Company, the Hub Theatre, the Washington Improv Theater, Synetic Theater and a host of others. (Go to www.kennedy-center.org for a complete listing.)

Kid Stuff
Adventure Theatre at Glen Echo Park, Washington’s longest-running children’s theater, presents the American premiere of “Spot’s Birthday Party,” based on children’s book author Eric Hill’s hugely popular “Find Spot” books. The play is directed by Joe Banno, who has directed Shakespeare at the Folger and opera, and who finds himself returning to his roots. Spot is, of course, a very, very famous dog, with friends like Tom the crocodile, Helena the Hippo and Steve the monkey. What a party! Begins Sept. 17 running through Nov. 2.

At Bethesda’s Imagination Stage, dogs and cats figure prominently in “Bunnicula,” about the visit of a strange and menacing new member of the Monroe household , a creature with long ears and big teeth, with a taste for … what? A musical adaptation of Deborah and James Howe’s book. Begins Sept. 25.

Synetic Comes to Crystal City
Arena Stage, celebrating its 60th anniversary, will end its residency in Crystal City this year, but Synetic Theater, the handiwork of the dynamic, multi-award-winning Georgian husband and wife duo Paata and Irina Tsikurishvili, will celebrate its 10th anniversary by filling in the now-vacant play house. The company, which began life in Dupont Circle and moved to Shirlington, has garnered high critical praise from the start with its “silent” approach to classic and epic theater and plays. The season begins with “King Arthur,” which would appear to lend itself to the unique talents of this company, starting Sept. 30.

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Music
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The reason Washington arts patrons have the opportunity to see so many famous is that the area has two major world class performing arts centers. Here are some of the highlights:

Kennedy Center for the Performing Arts
The Kennedy Center, with its varied music, symphony, dance, theater and special programming, marks another major year with the first season of Christoph Eschenbach’s as music director and conductor of the National Symphony Orchestra, which has its home at the center’s Concert Hall. This season also happens to be the orchestra’s 80th.

Expect a big season opening at the annual NSO Opening Ball Concerts on Sept. 25, where Eschenbach will make his debut accompanied by the country’s most noted soprano, the legendary Renee Fleming (performing Richard Strauss “Four Last Songs”) and renowned pianist Lang Lang, playing Liszt’s “Piano Concert No. 1.” Eschenbach’s official debut of the regular season comes when he conducts the Orchestra Sept. 30-Oct. 2 in Beethoven’s Symphony No. 9.

But there’s more early on at the Kennedy Center. There’s the big Celebrate Mexico festival throughout the center Sept. 11-Oct. 3, commemorating Mexico’s 200 years of independence. The celebration will be part of the annual Kennedy Center Open House Arts Festival (Sept. 11), the Multicultural Children’s Book Festival (same date) and a host of other events.

The National Symphony Orchestra Pops Series, beginning its 11th year under Marvin Hamlisch, will debut Oct. 28 with an evening with singer, Broadway star, actress and all-around dynamo Patti Lupone on Oct. 28. Another highlight is the Thanksgiving salute to legendary Broadway lyricist Frank Loesser on Nov. 26 with music from “Guys and Dolls,” “The Most Happy Fella” and other great Loesser shows.

Major things to look forward to next year are the big India Festival in the spring and the all-performance art tribute to “The Presidency of John F. Kennedy: A 50th Anniversary Celebration Jan. 20-Feb. 11.

Washington Ballet at the Kennedy Center
You’re also going to run into the Washington Ballet at the Kennedy Center’s Eisenhower Theater Nov. 3-7 when Artistic Director Septime Webre brings his adaptation of “Romeo and Juliet” (with music by Sergei Prokofiev) here.

The Music Center at Strathmore
The Music Center at Strathmore, on the outskirts of Bethesda, MD, has proven to be a major and welcome venue addition to the Washington area.

Its partners include the Baltimore Symphony Orchestra, under the direction of Marin Alsop, splitting a portion of its season with Strathmore in addition to its season at its home base at the Meyerhoff in Baltimore. The Season for the BSO at Strathmore begins with a Prevue Concert Sept. 10 with Alsop and Ilyich Rivas sharing conducting of a program of Prokofiev, Mahler, Bach, Schumann, John Williams, Mozart, Barber and Shostakovich.

There’s also the National Philharmonic Orchestra, which kicks off its season at Strathmore with Mahler’s “Resurrection” on Oct. 9, under the direction of Piotr Gajewski.

Strathmore also partners with the Washington Performing Arts Society. Its own programming will feature the celebration of the guitar in a season-long guitar festival which will include performances by world-class guitarists in all fields: classical, jazz, country, acoustic.

A highlight early on will be an appearance by the legendary songwriter, actor, country/folk musician and guitarist, the gritty Kris Kristofferson (Nov. 13).

Also on tap in the fall: The Dave Brubeck Quartet and the Callaway sisters (Ann Hampton and Liz) in “Boom,” a look at the 70-year jazz career of Brubeck, on his way to being an American icon.

On Nov. 14, the Washington Post will hold an intimate conversation with today’s most enduring creator of musicals, Stephen Sondheim. On Oct. 7, classical guitars Paul Galbraith will appear. “Asperia,” the soprano and lute duo will appear Sept. 23.

The renowned Academy of St. Martin in the Fields with Jonathan Bliss on piano will present an all-Mozart program at the Music Center Nov. 3.

It’s as big day for family entertainment on Oct. 30, when Grammy Award winners Cathy Fink and Marcy Marx will present their 25th Annual Family Music party.

The Washington Performing Arts Society

The WPAS has been around for 40 years, providing education opportunities for young people and performance showcases for renowned world artists at theaters all over the Washington area.

The WPAS Men, Women and Children of Gospel choir will perform at the Arts on Foot Festival at Seventh and F Streets on Sept. 11 at 4 p.m. The festival, by the bye, offers a great opportunity for a sampling of many of the area’s performance arts groups. For more information, go to www.artsonfoot.org.

Renowned and glamorous violinist Anne-Sophie Mutter will perform at the Kennedy Center’s Concert Hall Nov. 13.

Sweet Honey in the Rock, the locally nurtured gospel-folk-blues group of long standing, will perform at the Warner Theatre Oct. 23.

Ravi Shankar, now famous not only as an iconic sitar player, but also the father of two famous performing offspring (Anoushka Shankar and Norah Jones), will be at the Kennedy Center’s Concert Hall Nov. 7.

Yo-Yo Ma will appear at the Kennedy Center Oct. 21.

Pianist Andras Schiff will perform at the Music Center at Strathmore Oct. 20.

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Through the Opera Glass
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Washington Concert Opera
The Washington Concert Opera opens its 2010-2011 season on Oct. 24 with Francesco Celia’s “Adriana Lecouvreur.” WCO Artistic Director Anthony Walker will conduct the performance at George Washington University’s Lisner Auditorium.

Featured performers are James Valenti as Maurizio, Mary Elizabeth Williams as Adriana, Elizabeth Bishop as Princess de Bouillon and Donnie Ray Albert as Michonnet.

Walker has headed the Washington Concert Opera since 2002, makes his New York Metropolitan Opera Debut in 2011, conducting Gluck’s “Orleo.”

Washington National Opera
Five productions, all new to Washington, mix with a grand old tradition in the Washington National Opera’s 2010-2011 season, its 55th.

Under the leadership of General Director Placido Domingo, the season begins Sept. 11 with Verdi’s dramatic “Un Ballo in Maschera” (“The Masked Ball”), a soaring, powerful story of forbidden love and revenge which takes place during the 18th-century reign of Sweden’s King Gustavus III.

In this opera, King falls for Best Friend’s wife, a not unfamiliar theme in opera and theater. Best Friend plots his murder and things move forward. But it’s a Verdi opera, which means the kind of musical embellishment that heightens every emotion in the story, with soaring orchestration and straight-to-the-heart melodies.

In Europe, this opera startled many patrons at a time when most of the countries and empires of Europe were ruled by kings and emperors and a plot about a king’s murder did not sit well with the ruling class. This prompted the setting to be moved to America, where there are no kings. Some productions still do the American version.

Tenor Salvatore Licitra returns to Washington in the role of King Gustavus, sharing the part with American Frank Porretta. Also in the double-cast production are sopranos Tamara Wilson and Irene Theorin, and baritones Luca Salsi and Timothy Mix. James Robinson directs, and Daniele Callegari conducts the WNO orchestra. The production runs through Sept. 25.

October will feature Richard Strauss’ still astonishing operatic telling of the tale of “Salome,” with the gifted Francesca Zambello returning to direct Deborah Voigt in her WNO debut. Voigt is considered by many critics to be “one of the great Strauss interpreters of all time” and the definitive Salome of her generation. Strauss shocked the world with his opera, which includes a score that’s highlighted by “Dance of the Seven Veils”, as is, of course, any version of the Salome tale British tenor Richard Berkeley-Steele is Herod. In this story, Salome is a temptress who not only turns heads but causes at least one to fall. (October 7-23.)

That’s not all. The WNO will again offer a free simulcast, this year at the Washington Nationals Park, called “Opera in the Outfield” on Sept. 19, of “Un Ballo in Maschera.”

This season also inaugurates the Placido Domingo Celebrity Series, a concert series featuring opera’s most exciting popular stars. They’ll be performing their best-known works alongside the WNO orchestra. The concerts will start in the spring with Peruvian Tenor Juan Diego Florez on Feb. 11 and Welsh bass-baritone Bryn Terfel on March 12.

“Series O,” a specially discounted subscription series for audiences 35 and under, is also being initiated this year as a way to bring younger audiences to the opera.

The National Endowment for the Arts Opera Honors will be held Oct. 22 at the Kennedy Center’s Opera House, with the WNO as the producing partner for the awards ceremony and concert.

The spring portion of the season includes “Madame Butterfly,” Gluck’s “Iphigenie en Touride” and Donizett’s “Don Pasquale.” [gallery ids="99189,103299,103310,103306,103303" nav="thumbs"]

Gary Tischler •

It’s fair to say that “Mary Poppins” (the Sir Cameron Mackintosh/Disney-produced hit musical now ensconced at the Kennedy Center’s Opera House) has pretty much engulfed Anthony Lyn’s life.

Lyn is the tour director of the popular musical version of the old Disney movie musical which won Julie Andrews an Oscar as the super-cali— well, you know — nanny, and is the current director of the long-running (four years) Broadway production. For Lyn, it’s Mary here and Mary there pretty much all the time.

So what else is there?

“Well, I did just get married recently,” Lyn offered in a telephone interview. “There’s that.”

After congratulating Lyn, we wanted to know just what a tour director does. In the past, we knew that a stage director has a big part in the casting, runs rehearsals and then sits in the back of the theater biting his or her nails on opening night.

That doesn’t apply to Lyn or any tour director of major Broadway musical bonanzas, where you’re more like a visiting CEO visiting the plant regularly, changing this, overseeing that, making sure things are running properly and that the product is fresh and appealing.

“I’m here in Washington right now because as these kinds of shows go, with kids in them and all, we’re doing a bit of recasting, adding new performers,” he said. “The thing about kids is that they grow, they change.”

Lyn has a certain kind of show business in his veins, to put in British terms. He’s Welsh (the Lyn without the extra “n” says so), and that puts him in good theater company: think Catharine Zeta-Jones, Richard Burton and so on. He cut his theater teeth at Swansea Grand Theater in Wales, where they remember him fondly on the company’s Web site, charting his career from doing pantomimes to hosting musical shows to appearing with Zeta-Jones in a Swansea production of “The Sound of Music.”

From there, he went on to performing on cruise ships, getting a part in a production of “Anything Goes” with Elaine Paige, and landing a role in “Les Miserables.” That’s about the time he got interested in directing and talked his way into a job with Cameron Mackintosh. Next up: an assistant to Julie Taymor, who was directing the spectacularly successful “The Lion King” for Disney.

“She is just an amazing talent,” he says. “You have never seen such an eye, such creativity, it was an absolutely wonderful experience for me to work with the likes of her.”

It wasn’t that far removed from “Mary Poppins,” which now occupies a big part of his life.

“I know what critics think of Disney, that it’s this big business, giant corporation, heartless bottom-line and hokey stuff,” he says. “It’s nothing like that. You go to the Disney offices in New York, and it’s all theater folk like me.”

Still, the logistics of doing a national tour of “Mary Poppins” can be problematic.

“Everywhere you go is different,” he says. “Some of that has to do with the size of the venue. The theater in St. Louis, for instance, has 4,000-plus seats, and that requires a different level of projection. There are casting changes all of the time — actors sign a contract for a certain length of time and leave — the children, the sets, the physical opportunities and constraints. I think being a performer myself before has helped me in what I do. I know what it’s like, the whole touring thing, the changes, the pace, all of that.

“You know what it is about ‘Mary Poppins’?” he asks. “In all honesty, the show is full of heart, it’s about change and the parents, and the children, about that bond and imagination. I don’t mind saying so: it moves me still. You stay with a show long enough, all that coming and going, you form attachments. Every time there’s a cast change, there are goodbyes. You get to know people.

“It’s a funny thing that happens sometimes when there’s changes. An actor, even a child actor, will have their own views of things and they’ll make suggestions, and often it fits. You learn to listen. That way, you make sure things don’t get stale or change radically. I remember a long absence once, and an actor was playing his part in a way that changed everything. I didn’t recognize the show.”

Most of the time, “Mary Poppins” is a way of life for Lyn. A life a long way off from the Swansea Grand.

“Mary Poppins” runs at the Kennedy Center Opera House through Aug. 22.

Gary Tischler •

For the performing arts in Washington — as elsewhere — fall is a big deal; it’s the start of a new season, its festival time, its gala time, its opening night for theaters and performing venues, for dancers, actors, directors, musicians, and orchestras all over the city.

It’s also fair to say no event quite resonates with so much history and meaning for the future as Arena Stage’s return to its old home on the Southwest waterfront.

As Arena’s Artistic Director Molly Smith put it, “We are finally home again.”

Well, the old homestead isn’t exactly what it used to be. Smith made those remarks recently on the occasion of a 60th anniversary celebration for Arena Stage, which also served to unveil the new stage at the Mead Center for American Theater, its old Southwest location. The ceremony — presided over by Mayor Adrian Fenty, other elected officials, Smith and her Arena compatriots — seemed appropriate to the place and time, looking forward and backward all at once.

The new site, as you get off the Waterfront Metro station, appears almost immediately to the eye like a glass-curved visitor’s vehicle from some nifty galaxy far, far away.

Modern, expensive and two-and-a-half years in the making, the Mead Center manages to be warm and inviting, a multi-task kind of venue which serves as performing space (three theaters), keeper of the historic flame (not to mention education and research) and community center in its role as cultural jump-starter for revitalization and development in Southwest Washington.

The new Mead Center marks yet another turning point for Arena, which in 60 years has seen many such key moments. Most of them, in one way or another, are part not only of the history of Arena Stage, but are literally embedded in the $135 million center, whose core remains the Fichandler Stage’s theater-in-the-round auditorium, a 683-seat space perfect for big-scale theater such as, for instance, “Oklahoma,” which starts off Arena’s fall season on Oct. 23.

The new theater also sports the Kreeger Theater, a 514-seat space with a thrust stage, the Arlene and Robert Kogod Cradle, an oval-shaped 200-seat theater with flexible seating, a space where new plays are workshopped and talent, new ideas and ways of creating are nurtured.

“The Arena Stage as we have it now will be a major center not only for the production and performance of theater, but for the study of theater. It will be a research center, a truly all-purpose theater center,” Smith said.

It was designed by famous Chinese-Canadian architect Bing Thom, who sees the space as “accessible, warm, modern and historic at the same time, intimate, vast, a part of the community.” The center reflects Arena’s past, but its transparency and structural impressiveness speaks to the future. “We hope for everlasting life for our hometown theater,” a local said.

Hometown is exactly what Arena is and has always been, even as it’s grown to a theater of national stature. “In 1950, the only way you could see theater here was at colleges, or through touring companies of Broadway plays,” Smith said. “Zelda Fichandler and her partners were pioneers; they created the first regional theater in America and the only professional theater here.”

From its first theater, which was called the Hippodrome on New York Avenue, Arena has moved and gone through various stages and incarnations. Five years after Hippodrome’s founding in 1950, it moved to a 500-seat theater called “The Old Vat” in Foggy Bottom.

In 1961, the 800-plus-seat theater-in-the-round Arena Stage opened at the current location with a production of Brecht’s “The Caucasian Chalk Circle,” an ambitious, difficult play that spoke to founder and artistic director Zelda Fichandler’s ’s theatrical vision.

It was evident that Arena was bound to enlarge or move. “There was serious consideration about moving to Seventh Street, where there was already a bustling theater scene,” Smith said. “But we decided to build here.”

Spurred by a $35 million donation from trustees-for-life Dr. Jaylee M. Mead and her late husband Gilbert Mead (the largest gift of this sort by individuals for a not-for-profit regional theater), the project to revamp Arena took hold two and a half years ago. This necessitated that the company and the institution scatter its offices and performing spaces all over the city. “We were a nomadic enterprise,” Smith said. “It was difficult, but it also increased the profile of Arena, acquiring new audiences, both in Crystal City and at the Lincoln Theatre in the historic U Street District.”

For Smith the new center is also a personal homecoming (again). An American University grad, she was picked to succeed Douglas Wager (who took over as artistic director after Fichandler retired) 12 years ago after leading the Perseverance Theater in Alaska for 19 years.

She dedicated herself to building on a standing — and pioneering — tradition at Arena. While she focused on American plays and the American theatrical canon, she continued to reach out to the community at large and build an African American audience, a hope that became a larger reality after the stint at the Lincoln.

“I think we have always encouraged new plays, new playwrights, new ideas that reflect the great creative energy in this community, as well as its diversity,” Smith said. She continued a process where two Arena productions, the spectacularly successful “Next to Normal” and “33 Variations” went to Broadway, a tradition that began with “The Great White Hope” in the 1960s.

She also started directing musicals. “I kind of surprised myself,” she said. “I never did them before. You know, I’m part of that generation that thought musicals, especially Rodgers and Hammerstein musicals, were kind of square.” She began with “South Pacific,” a big hit, which looked and felt not old-fashioned, but fresh and big of heart.

The inaugural season at the Mead Center can be expected to embody what Arena, Smith and the building itself stand for. So it begins with “Oklahoma,” a rarely revived musical that revolutionized musicals when it was first staged in the 1940s, building book and music into a seamless whole.

“We recognize the diversity that existed and the show, with all of its great music, will also embody that spirit. It’s not just an exercise in nostalgia,” said Smith In short, it will be a multi-cultural, multi-ethnic cast that will sing and perform the show. “It is THE great American musical. All of Arena’s optimism, hopes and dreams will be embodied in this moment of fierce individualism.”

Gary Tischler •

In Washington, you can find lots of choirs and lots of orchestras, big and small. You can find choral societies, string quartets, dance and dance companies. But we also have institutions, organizations and individuals that are beyond category. Here’s three that are Washington treasures:

The Embassy Series

Sixteen years ago, Jerome Barry, a noted baritone, concert singer, teacher, scholar and man of many languages, had the idea to organize a series of concerts at various embassies throughout the city. It was a pretty good idea, small to begin with, but it grew like mad.

“We had six concerts, two or three embassies, and it’s fair to say it was pretty Euro-centric,” Barry said as he prepares to begin the 17th season of what was then called and still is “The Embassy Series in October.” “I thought it was a way for the embassies and people who loved music to meet one another. In the back of my head was always the idea that if it worked, this could turn out to be a vehicle for cultural diplomacy, for bridge building. This is a unique city, after all, we have a whole international community here, close to 200 embassies.”

Initially, European embassies, specifically Austria, Germany, and Poland, were the primary participants — these were the countries of Beethoven, Mozart, Strauss and Chopin, after all. The events would feature a concert, usually veteran or up-and-coming musicians from Europe, but also locals (and sometimes featuring Barry himself) to be followed by a reception with food, which provided opportunities for embassy officials and audience members to mingle and meet. It worked.

“We’ve had 58 embassies participate at one time or another so far,” Barry said. “And it has been a great opportunity for homegrown diplomacy, especially in these tense times were cultural gaps are so wide in the world.”

Barry’s Series have not only broadened, increased and widened the audience, they’ve broadened the horizons of the participants. While European embassies remain strong presences and supporters, the scope of the series has reached out Latin America, Africa, Israel, Asia and, perhaps most importantly, the Middle East. “Music is the great door opener,” Barry has said in the past. Last year’s season included a major concert at the very large and new Chinese Embassy, which proved to be a major cultural and social event. There were also concerts at the Embassy of Bahrain and the residence of the Ambassador of Syria, an inveterate blogger and culture consumer, which featured Kinan Azmeh, performing both traditional and contemporary Middle Eastern music with strong and appealing pop strains.

This year’s series begins with two concerts that all but characterize what the Embassy Series and Barry are all about.

The series opens Oct. 1 at the Iraqi Cultural Center with an evening of Iraqi music performed by ensemble of three Iraqi musicians called Safaafir, performing the country’s urban classical music, called Iraqi Maqam, as well as more traditional music.

This will be followed Oct. 17 by a concert at the Embassy of Austria, in which Till Fellner, who performed there last year, completes his major tour of the United States, during which he performed all of Beethoven’s sonatas. The internationally acclaimed pianist was born in Vienna, Austria and has played all over the world.

Taken together, the two concerts represent what the Embassy Series have been all about, a marriage of classical European music with an expansion to the music of the great world out there and here as performed in embassies and ambassadorial residences. It’s probably fair to say that Barry’s lone invention has influenced other recent efforts at cultural diplomacy such as Passport DC and the upcoming EuroKid festival.

The In Series

The In Series — a hard-to-describe series of performing arts events that combine just about everything performance has to offer — is celebrating its 10th anniversary at its 14th Street home at the newly renovated Source Theatre.

It will kick off its season with a double bill of American mini-operas, Leonard Bernstein’s strikingly contemporary and haunting “Trouble in Tahiti” and William Bolcom and Arnold Weinstein’s “Casino Paradise,” beginning Sept. 18 and running through Oct. 2.

It will be a season of so-called “pocket” operas for the In Series, with a pairing of Zarzuela, a Spanish musical in the form of the Cuban “Maria La O,” and the iconic “Pagliacci” by Ruggiero Leoncavallo.

Carla Hubner, the series’ producing artistic director, is also its founder and heart and soul. Nick Olcott, a veteran Washington theater director, is the series director and Francis Conlon is the music director. Look for a 10th Anniversary Big Birthday Bash Oct. 23 and 24 at the Gala/Tivoli theater, and a music performance by Soprano Fleta Hylton, pianist Tom Reilly and actor Jenifer Deal exploring the music and life of Robert Schuman on the bicentennial of his birth, Sept. 26 and Oct. 2.

The Folger Consort

The Folger Consort, a unique group of chamber musicians performing classical music from distant centuries are a unique group, offering yearly consorts focusing that evoke not only gorgeous music but history and historical culture itself.

This year’s season opens with “Pastime with Good Company,” music from the court of Henry VIII, featuring the vocal ensemble “Lionheart,” Oct. 1-3. It’s presented in conjunction with an exhibition on Henry VIII, which commemorates the 500th anniversary of the larger-than-life king’s accession to the English throne. Not coincidentally, there’s also an upcoming production of Shakespeare’s “Henry VIII” at the Folger Shakespeare Library’s Elizabethan Theater.

At Christmas Time, the Folger Consort will present “A Renaissance Christmas” at Georgetown University’s Gaston Hall with the Augsburg Cathedral Boys Choir of Germany, Dec. 10-12.

Gary Tischler • June 23, 2011

Here’s something perfect: Shakespeare, music, The Castleton Festival Orchestra, and renowned Castleton director and conductor Lorin Maazel, all together at the Music Center at Strathmore June 30 to perform “Music Inspired by Shakespeare”.

The concert is a fundraiser for the Castleton Festival, which annually brings together young talented virtuosos and musicians of a superior grade for a season of 20 operas and concert performances around the Washington region, which, of course, includes Maazel’s Castleton Farms in Rappahannock County from June 25-July 24.

The evening at Strathmore promises to be special: Maazel himself will conduct the Castleton Festival Orchestra and the women’s voices of the Castleton Festival Chorus in a program of music inspired by Shakespeare , specifically plays like “Romeo and Juliet” and “A Midsummer Night’s Dream”.

Mirren and Irons are both veteran Shakespearean and stage actors as well as major league movie stars (Mirren won Oscars and Emmy’s for playing both Elizabeth 2 and Elizabeth 1). They will recite verses from “Misummer.”

If classical theater or music isn’t your bag, you might try some of the local stages, and performance arts centers. Something’s bound to please you.

For instance, if you just have to do the time warp again, in terms of oldies but goodies, then the Wolf Trap National Park for the Performing Arts is for you.

Look here in the next few days: Monday, Hall and Oates, those 70s and 80s mysterious icons and superstars; Peter Frampton comes around June 23, probably with less hair than when he charmed a generation of slackers circa 80s and 70s. Going even further back, there’s a personal favorite, the hard-rocking “Credence Clearwater Revisited”, a treasure chest of 60s rock songs on June 24. Further back yet is “The Ultimate Doo-Wop Show”, June 25. It’s sort of like a class reunion with the music of the Drifters, the Platters, the Shantels and so on. Happy time travel.

The green witch is back at the Kennedy Center for a long broom ride with “Wicked”, which tells the story of the life and times of Glinda and Elfalfa in Emerald City and Oz in big, big Broadway musical style. A tough ticket, but a great, spectacular show with music by Stephen Schwartz
(“Pippin” “Godspell”) Now playing through August 21.

Ethan McSweeny is one of the Washington theater scene’s finest directors and he’s getting a chance to show it, not once but twice and one thing’s true: he’s not afraid of taking chances.

First off, he helmed “A Time To Kill”, an Arena Stage project which is an adaptation of John Grisham’s heated novel about race, the law and sundry other items with a bit cast, which is now winding up its run June 19. Last chance there. First chance to see McSweeny’s take on “The Merchant of Venice” begins June 21 for a nice long run through July 24 at the Shakespeare Theatre Company’s Sidney Harman Hall.

“Merchant” is an enticing project for actors—Portia, the merchant, Antonio and various suitors—and it’s often been controversial because of its romantic comedy touches mixed in with a revenge plot that tethers dangerously between bigotry and remarkable tolerance. Could be there’s a cross-pollination between the two plays with concerns about tolerance, ethnicity and so on? Who would have thunk it: Grisham next to the Bard.

A couple of unusual projects going on right now: there’s the Forum Theatre’s “bobrauschenbergamerica” by Charles L. Mee running through June 25 at the Round House Theatre’s Silver Spring location 8461 Colesville Road in Silver spring and there’s Scena Theatre’s producing of “Purge”, a new play by young Finnish playwright of Estonian roots, at the H Street Playhouse at 1365 H Street N. Robert McNamara directors, and the cast includes the gifted husband-wife team of Kerry Water sand Eric ZLucas and Colleen Delany through July 3.

We’re not done yet with Georgetown University Glass Menagerie project: it’s full-stage production of “The Glass Menagerie”, with Sarah Marshall as Amanda Wingfield, is back, at Arena Stage’s Mead Center through July 3.

Gary Tischler • June 16, 2011

Charles Fishman, the executive producer of the DC Jazz Festival, likes to compare jazz to basketball, a sport he loves.

“Watch a game sometimes,” he said. “You’ve got the basic positions: center, forward, guards, and they all have their tasks but operate as a team. Just so, a jazz trio or quartet works the same way. Everybody works off a basic theme, plays together, and then you improvise—like a great shooter, or dribbler or passer—off of that. It’s a team thing where individuals shine, and that’s what your solo is, a riff on what everybody’s working on. The first solo sort of sets the plate, and the next guy works off of that and incorporates and creates.”

Fishman is a huge Celtics fan, and he could probably talk about Red Auerbach and Bill Russell and the Celtic glory teams for hours on end.

If jazz is like basketball, then talking with Fishman about the festival, which kicked off this week and runs through June 13, is a little like jazz itself. The talk inevitably leads to the whys and wherefores of jazz, true stories and tall tales about the music and musicians. In the course of things, you know why you’re here, where you’re going and what you’re going to talk about—like knowing the lyrics to “My Funny Valentines,” then playing off the melody.

That conversation encompasses a lot for Fishman. He can talk jazz history from his longtime stint as Dizzy Gillespie’s manager. He can talk current news and he can talk jazz futures, and the DC Jazz Festival is one of the exemplary and characteristic events of the state of jazz and where it is going.

“The world of jazz today is different,” he says. “In a weird way, it’s sort of happening off the radar, but it’s one hundred percent bigger in terms of audiences and artist, not to mention the range of music and venues, than what it used to be. What you’re seeing now is the international explosion of jazz. It’s a brave, interesting new world, let me tell you. Jazz is being listened to and played in Latin America, in Japan, in the Middle East and Africa. Jazz is different, the music is more expansive.

“But then, it’s always been like that, jazz is fluid. It moves, it soars and it changes, and you can see that in the festival.”

This is a festival that, since it started out as the Duke Ellington Jazz Festival seven years ago, has grown like topsy to the point where an almost inevitable name change occurred last year. “We wanted a national, an international presence,” Fishman said. “It’s about the city, and we wanted the city to be presented as a center of jazz.”

DC is for Jazz Lovers

“One of the things we’ve always wanted to do is showcase Washington as a jazz city,” Fishman said. “It’s got such a rich tradition in the U Street area—back in the days of Ellington, the big bands, the big singers and performers who came here to the clubs and venues. We still have that today.

This year, with a slew of sponsors, one of the key components is Microsoft Bing—a search engine if you haven’t heard—which is joining the festival in bringing new musical education programs to the city and which will co-present the Jazz on the National Mall free concert on June 12, featuring Toby Foyeh and Orchestra Africa, Frederic Yonnet, a local favorite, the great Cuban singer Claudia Acuna, Roy Hargrove and the RH Factor, and the Eddie Palmieri All-Star Salsa Band.

Bing, which supports the festival’s year-round Roberta Flack Music Excellence Program, will also sponsor three master classes and a financial literacy workshop for professional musicians at the Bohemian Caverns, the “official” club for the festival.

As for presenting DC as a jazz town, there is the festival’s Jazz in the ‘Hoods program, being presented all over the city with 80 performances at 41 museums, clubs, restaurants, hotels and galleries, and featuring some 70 DC-based jazz groups. “It’s a chance to show off the city and what it is,” says Fishman. “This diverse city of long-standing cultural and jazz history… We have a lively jazz scene here, with lots of gifted, talented young players, which says a lot about what jazz is—a continuing, ongoing kind of music with a rich mentoring and educational component.”

You’ll get to sample jazz as it’s played in the neighborhoods, including Adams Morgan, Capitol Hill, Downtown DC, Dupont Circle, Chinatown, the H Street Corridor, Georgetown, the U Street Corridor, Woodley Park and others.

For good jazz in this city, says Fishman, there are a number of standout venues: the Bayou—a new club on U Street—the Black Fox Lounge, Cashion’s, the Grill from Ipanema, Twins and Bohemian Caverns. Bohemian Caverns, a huge supporter and key venue for the festival, will feature Cyrus Chestnut June 3 and 4, Antonio Hart June 8 and 9, and the Heath Brothers June 10 and 11.

As usual, the Festival is not without its big headliners. Bobby McFerrin, a multi-talented, big-name performer with a huge pop hit (“Don’t Worry Be Happy”) to his credit will be at the Warner Theater June 11, performing with the Howard University Afro Blue Reunion Choir.

As always, the festival will pay tribute to legendary performers. This year, two life time achievement awards will be presented, to the brilliant saxophonist Jimmy Heath and the incomparable Puerto Rican pianist Eddie Palmieri. Both men have left a legacy of teaching, creativity, composition and respect. “These two men have dedicated their lives to jazz as an art form, educational tool and unifying force,” Fishman said. Palmieri is a nine-time Grammy winner noted for his unique blend of jazz and Latin rhythms, with a career spanning 50 years as a composer, pianist, leader of famed salsa and Latin bands and smaller ensembles. Palmieri will be part of the free Jazz on the National Mall concert June 12.

Jimmy Heath is the second oldest brother of the legendary Heath Brothers. He’s a major composer, artist, performer, mentor and jazz icon who has performed on over 100 recordings with his own group and with Miles Davis and Dizzy Gillespie.

Think jazz isn’t hip or doesn’t hop? Check out the DC Jazz Loft Series, with edgy new national jazz bands performing at such eclectic sites as Red Door, the Fridge (part art gallery, performance space, and classroom and music venue at Eastern Market) and Subterranean A near Logan Circle.

Concluding the festival will be “A Night in Treme: The Musical Majesty of New Orleans” at the Kennedy Center, with the HBO Series’ star Wendell Pierce, the Rebirth Brass Band, Dr. Michael White, trombonist Big Sam Williams and trumpeter James Andrews.

“It’s grown, no doubt about it,” Fishman said about the festival. “But you can see what a world it encompasses. There’s so many different kinds of music we now call jazz, and it originated with the legendary pioneers like Gillespie, the Duke and the Count, Bird, Miles, Monk.”

When you listen to Fishman, sitting in his office—which is more like an improvisational shrine to Jazz and Dizzy and clutter—you feel a lot of love for the music. He’s like John the Baptist for the great American musical invention.

We talk about the neighborhood, we told stories about concerts we’d attended over the years, about the great tribute concert to Elllis Marsalis two years ago at the Kennedy Center: “That was maybe one of the best all-time concerts, period,” said Fishman.

And there’s Moses, Fishman’s six-year-old son, a preternaturally charismatic boy who may one day run the festival. “He’s taking piano lessons now,” Fishman said proudly. “He gave up the drums.” For a parent, even one as musically inclined as Fishman, a kid giving up drums can’t be all that bad.

For a complete list of performances, venues, times and dates, jazz buffs should go to the festival website at DCJazzFest.org or pick up a festival program guide which can be found all over Washington.
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Gary Tischler • June 15, 2011

Who knew that Leopold Von Sacher-Masoch could be so entertaining? Especially with a name like that.
Who knew that S & M, named after the very same Sacher-Masoch without the von, could be so much fun?
Readers are not required to answer the last question for the usual reasons, but really, folks, go check out Venus in Furs at the Studio Theatre, where playwright David Ives’ take on the 19th-century novella by Sacher-Masoch of the same title is being staged (by Studio Artistic Director David Muse), with bravura intensity, wit, and high energy.

And yes, it is about sado masochism, but it’s also about power and men and women and actors and directors, so just about everyone can have some fun with this, not excluding politicians, but perhaps prudes should attend only if they leave their noses at the door.

Here’s the take: a director named Thomas is holding auditions for a play based on the very same novel in a shabby New York studio, looking for the role of an aristocratic woman named Vanda who engages in a kinky power struggle with a man named Severin Kushemski, who, affected strongly as a boy by tannings at the hands of an imperious aunt who wore furs looks for a special love at the hands of a strong woman.
Knock knock, who’s there, but a seemingly crass pop tart named, wow, Vanda, complete in thigh high, plastic shiny boots, a snarky, loud attitude and a bag full of surprising goodies. Imagine Mary Poppins carrying a big full of whips, corsets and none-such. She wants to read for the part, he wants to go home to dinner with his fiancée. Vanda sounds as if she’s never read anything longer than a parking ticket let alone a 19th-century novel, but she’s also pushy, whiny and bossy in a sort of sexy way.

Thomas gives in and lets her read and lo and behold, something happens: the near-Brooklyn, streisanesque mouthings disappear, and out come rounded vowels, tight enunciations and poetic line readings.
What is going on here? As they continue on, with Thomas taking the male lead, they seem to not only come closer together, but also to inhabit the parts to a degree that’s completely changing our perception of them. There are subtle, and then shocking power shifts going on, with the help of more and more kinky costumes and lighting.

The novel is a story about a man who seduces a woman into doing things she insists are against her nature—i.e., finding ever new ways to torture, humiliate and punish the man she’s obviously attracted to. The course of true love was never this twisted, but it’s also funny, kind of thrilling in its own way, perhaps erotic to some or one and all, you pick.

And quite frankly, most of that is due to the Vanda of this play, a young actress named Erica Sullivan, whose transformative gifts are award-worthy, and awe-inducing. She goes from slutty, bad-mouthing, down-to-earth and off a walk-up apartment struggling actress to svelte, graceful, classy, educated, vaporous Vanda on a dime, back and forth until she makes you dizzy.

The relationship between director and actors is of course all about power as well as collaboration, it’s always about seeing eye-to-eye or succumbing. But it’s the brash, crude Vanda who pushes Thomas into submitting to the novel’s Vanda, and apparently his own predilections.
It’s an often physical struggle—there’s lots of grabbing, pushing, positioning, approximating a rough courtship, with no safe word.

Watching this, with a very involved audience who laughed, apparently in the right places, and were startled in the right places, I kept thinking of an old joke: Masochist to Sadist: Beat me, beat me. Sadist to Masochist: No.

And so it goes: in this play, so tightly paced, without intermission, heading towards a conclusion that maybe isn’t quite the shock or surprise it should be, it’s a real fight for love and glory, a sweaty, rough-and-tumble sexy brawl.

You have to ask, where did Vanda—who said she’d glanced at the script on the subway—get this perfect memorization, this well-spring of motivation, this spell-binding perfection? It looks like a gift from the gods.
Maybe it is. But there’s no uncertainty about Ms. Sullivan. She too, is a gift from the gods.
Venus in Furs runs at Studio Theatre through July 3 [gallery ids="99990,99991,99992" nav="thumbs"]