Category Archives: We Love Arts

Entertainment, The Features, We Love Arts
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We Love Arts: 4000 Miles

Grant Harrison and Tana Hicken in Studio Theatre's production of 4000 Miles. Photo credit: Scott Suchman.

Grant Harrison and Tana Hicken in Studio Theatre’s production of 4000 Miles. Photo credit: Scott Suchman.

Some generational theorists say that you can be closer to your grandparents’ world views than to those of your parents. Perhaps that’s true (my grandmother was a cocktail drinker), perhaps it isn’t (those arguments about religion!). I suspect that the kind of relationship you had with your grandparents will strongly inform your reaction to Amy Herzog’s generational drama, 4000 Miles, now playing at Studio Theatre under the direction of its former founding artistic director Joy Zinoman.

Twentysomething Leo (Grant Harrison) turns up at his ninetysomething grandmother Vera’s Greenwich Village apartment in the middle of the night, fresh (or rather, rank) off a cross-country cycling trip that’s ended in tragedy. He’s lost, existentially, but like a homing pigeon has ended up at a haven he considers safe. Vera (Tana Hicken) may still cling to independence, but her speech is peppered with “what do you call it?” forgetfulness, and she’s in just as much need.

The simple moments when they embrace are the most true. Continue reading →

Arlington, We Love Arts
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Interview with Playwright Beau Hopkins

Original Ugandan production of The River & The Mountain / Courtesy of Artisphere

Original Ugandan production of The River & The Mountain / Courtesy of Artisphere

British playwright Beau Hopkins wrote The River and the Mountain – the first Ugandan-produced play to deal with the theme of homosexuality. The controversial show, which premiered in Kampala in 2012, led to charges against and eventual deportation of producer David Cecil.

The River and the Mountain will make its US debut – and its first showing outside of Uganda – in a series of staged readings in the DC/Baltimore area, including a free staged reading this Saturday night at Artisphere. I recently spoke with Hopkins about the project and the current political climate in Uganda.

Joanna Castle Miller: Tell me a little about what led you to write this piece.

Beau Hopkins: I met (producer) David Cecil shortly after I arrived in Uganda in April of last year. And he introduced me to a theater company that suggested an interesting topic: the issue of homosexuality. It was something over which a blanket silence had descended that was politically motivated. And in their view, it was important to rupture that silence.

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The Features, We Love Arts
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We Love Arts: Manon Lescaut

(l-r) Patricia Racette as Manon Lescaut and Kamen Chanev as Chevalier des Grieux. Photo by Scott Suchman for WNO.

(l-r) Patricia Racette as Manon Lescaut and Kamen Chanev as Chevalier des Grieux. Photo by Scott Suchman for WNO.

If you’ve been wanting to try the opera, start with Washington National Opera’s Manon Lescaut this month at the Kennedy Center Opera House.

Puccini’s first real hit runs a mere two hours, 45 minutes including two intermissions. Within this tight time constraint, the epic love story comes nearly bite-sized.

Soprano Patricia Racette makes her role debut as the tragic heroine Manon Lescaut – a woman torn between her love for the finer things and her love for impoverished student Chevalier des Grieux. After she leaves des Grieux for the wealth of “that ancient dandy” Geronte de Ravoir, her conflicting loves torment her and lead to devastation.

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Entertainment, The Features, We Love Arts
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We Love Arts: The Convert

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Photo: Scott Suchman

Danai Gurira’s The Conert opens in 1895 Southern Africa where Nancy Moricette’s character Jekesai runs onto the Woolly Mammoth stage wearing nothing but some Zimbabwe tribal neckware and a small animal hide skirt. The image is striking and reminiscent of a photo you would perhaps see in an old issue of National Geographic.

Seeking refuge from becoming a wife to her Uncle (Erik Kilpatrick), Jekesai reaches out to her aunt Mai Tamba (Starla Benford) who is a maid at the home of Chilford (Irungu Mutu), a Christian missionary. Jekesai is taken in and given a job, schooling, and the opportunity to convert from her pagan religion to Catholicism. Grateful for her newfound situation, we see Jekesai slowly shed her native identity (which includes changing her name to Ester) and turn into a devout missionary. Her new faith however will find her in the middle of rising tensions between the Zimbabwe natives, the European settlers, and the converted missionaries in the middle.

It is a powerful story and the latest piece by Gurira, who you may know from her role in AMC’s Walking Dead. She is no stranger to Woolly Mammoth, she performed on stage in 2006’s Continuum and premiered her play Eclipsed at Woolly back in 2009. A child to Zimbabwean parents, Gurira has been deeply interested in telling the story of her native homeland and delivers the first of a trilogy of plays about Zimbabwe in the form of a moving drama that is new and refreshing.

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Downtown, Interviews, Special Events, The Features, We Love Arts
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Behind the National Geographic Story (With Alice Gabriner)

Roman Frontiers

From “Roman Frontiers”; used with permission. The Porta Nigra, or “black gate,” still dominates Trier, Germany. A hundred feet tall, it was built in the second century as part of a wall system four miles long. Trier was a major city in the late Roman Empire, even serving as a regional capital under several emperors. “The light was so good from my hotel room that I put up a tripod and started taking pictures. The gate is surrounded by modern elements like power lines and a gas station, so I captured a variety of ways of looking at it. This was a way of combining both the old and the new.”
ROBERT CLARK – ROMAN FRONTIERS, SEPTEMBER 2012

Tonight, National Geographic is pulling back the curtain of sorts. One of the organization’s acclaimed draws is its fantastic use of photography to illustrate various articles and exhibits. Many photographers, from amateur to professional, dream of a day when they see one or more of their photos published in the iconic gold-bordered magazine.

National Geographic magazine Senior Photo Editor Alice Gabriner will share with a select crowd at the museum’s Grosvenor Auditorium her process. (The program is sold out for the evening.) Guests will discover firsthand the work that goes in to curating a National Geographic photo show through an insiders tour, as well as a private viewing of Beyond the Story: National Geographic Unpublished 2012, an upcoming photography exhibition featuring unpublished images by photographers on assignment for National Geographic magazine last year.

I had the opportunity to talk briefly with Gabriner before the program this evening. She graciously took a few moments to answer some questions and shared some photos from upcoming projects. Continue reading →

Entertainment, The Features, We Love Arts
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We Love Arts: Spring Awakening

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Photo: Stan Barouh

In  2006 Spring Awakening was the sensation of Broadway. The new rock musical featured catchy tunes by Duncan Sheik, a smart book and lyrics by Steven Sater, career launching performances from Lea Michele and John Gallagher, Jr. I still can’t get over the fact the original Mortiz is now Jim Harper on The Newsroom. The show dominated the Tony awards that year including a Best Musical win.

The show returns to the Washington, DC area over at the Olney Theatre Center in Maryland. The show rings true to its Broadway predecessor yet includes subtle touches from Director Steve Cosson that sets the show on its own.

The coming of age story of Wendla (Alyse Alan Louis) and Melchior (Matthew Kacergis), two school children in 19th century Germany who explore a number of topics including sexuality and religion was heavily censored as a play in 1906. 100 years later the story is still relevant in showing the consequences of a sexually-oppressive culture and opinions.

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Entertainment, The Features, We Love Arts
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We Love Arts: Black Comedy

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Most farces, especially British faces, are essentially the same: frenetic energy, physical humor, and mistaken identity. There’s little you can change besides the names, sets, and costumes… right?

Peter Shaffer finds another way to spice up the genre with lighting. Or should I say without lighting?

When it comes to the characters in Shaffer’s Black Comedy, they are in dark when the stage is lit and vice versa. As the show starts, the lights go out and we hear the entire opening scene done in complete blackout. While it is funny to hear actors speak and move about without being able to see, it is more amazing to realize they are navigating a stage without any light. As someone that’s worked on stage before, it’s quite the task. After a “blown fuse” the lights finally go up, but the characters act as if the opposite has occurred. It results in a zany twist for No Rules Theatre’s first show at the Signature Theatre in Shirlington, where the company will reside for the next three years.

The result is a show packed with non-stop laughs that will have you rolling in the aisles by the night’s end.

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Education, Entertainment, Special Events, The Features, We Love Arts
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National Geographic Live Giveaway – Feb/Mar 2013

Photo courtesy of BurnAway
Essick discussing his photo in the special Nat Geo exhibit upstairs
courtesy of BurnAway

The National Geographic Live series began a couple weeks ago, so our apologies for getting this to you a little late. Nonetheless, the good folks over at the NG Museum are giving away two pairs of tickets to our readers for (almost) any one of their great programs over the next few weeks. Entering is easy: in the comment field below, give us your name and two of the programs from the following list you’d like to see. We’ll randomly draw two commenters and provide each with a pair of tickets to one of the programs they selected! The drawing will occur around noon on Tuesday, 2/19 and winners notified that afternoon.

All events are at the Grosvenor Auditorium at the National Geographic Museum, located at the corner of 16th and M Streets, NW. Parking is free for programs starting after 6 pm. If you’d like to attend and don’t win, you can contact the box office to purchase tickets.

Cocktail Hour Under the Tree of Forgetfulness ($22)
Feb 20, 7:30 pm
Spend an evening with Alexandra Fuller, an award-winning writer and National Geographic contributor who has converted the experience of growing up amidst war and revolution into a powerful literary voice. Raised in Zimbabwe by English expats, Fuller’s coming-of-age experience during that country’s independence struggle provided material for two compelling memoirs, Don’t Let’s Go to the Dogs Tonight and Cocktail Hour Under the Tree of Forgetfulness. Join us for a moving exploration of Africa—and beyond—in a conversation hosted by National Geographic Traveler editor at large Don George.

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Entertainment, The Features, We Love Arts
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We Love Arts: Good People

Johanna Day as Margie, Francesca Choy-Kee as Kate and Andrew Long as Mike in Arena Stage at the Mead Center for American Theater’s production of Good People. Photo credit: Margot Schulman.

Johanna Day as Margie, Francesca Choy-Kee as Kate and Andrew Long as Mike in Arena Stage at the Mead Center for American Theater’s production of Good People. Photo credit: Margot Schulman.

A woman struggling as she slides further into poverty meets a former boyfriend whose life has taken the opposite trajectory, and the powder keg of class, gender and race is ignited. If David Lindsay-Abaire’s play Good People were a 1940s film, Barbara Stanwyck would star, martyring herself for her man and her child, and many handkerchiefs would be wrung wet by the end. Corset her up and we’ve got Dickens or Hardy. It’s not intentionally a “weepie,” however, it’s the playwright’s well-meaning attempt to honor the working class neighborhood of his childhood: South Boston. But he can’t escape the conventions other writers have fallen into time again when trying to make sense of the cruelty of chance and circumstance, the razor’s edge that separates rich and poor.

Does that matter? After all, it’s well-awarded, and the most produced play of American theater’s 2012-13 season. The essential story is told repeatedly because, sadly, it’s still relevant.

The success of Arena Stage’s production of Good People hinges on its lead actor, Johanna Day, whose bravura performance as Margie is electrifying, and true. We all know someone who ends badly through a combination of coincidence, choice, and misplaced pride. Lindsay-Abaire chooses to end with a hope-delivering deus ex machina that certainly resonated with the audience the night I saw it – the raucous laughter and standing ovation proves that everyone wants to believe there’s always a way through. No matter how bad things get, a good person always gets bailed out. We can laugh at life’s punches, right?

I couldn’t join in, and I can’t explain why without spoiling a major plot point. Doesn’t that prove the play’s successful, if it affects me so much I can’t be objective? When theater actually makes you angry in a complex way? Given the play’s theme, the economic question about whether it adds anything to the debate that’s worth its ticket expense seems even more valid. Is there anything here you couldn’t get from watching one of those old weepies (or Good Will Hunting, as a friend pointed out afterwards), or reading Hardy? Continue reading →

We Love Arts
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Michelangelo’s David-Apollo at the National Gallery

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Michelangelo. The name is instantly recognizable. When a person hears it, images of the David, the Sistine Chapel, and the Pieta come to mind; the name itself is associated with the heights of artistic excellence. With this in mind, when it was announced that the government of Italy was lending a Michelangelo statue to the National Gallery of Art, I jumped at the chance to see the master’s unfinished “David-Apollo” statue. Continue reading →

Entertainment, The Features, We Love Arts
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We Love Arts: Hughie

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Photo: Carol Rosegg

We could all use a friend like the Night Clerk in Eugene O’Neill’s Hughie. Played by Randall Newsome, the Clerk is a great listener- the kind that doesn’t interrupt your train of thought or dominate a conversation. He is the perfect person for venting, complaining or revealing your inner most secrets.

He’s also the equivalent of talking to a brick wall. The hotel clerk is pretty much checked out for most of the play’s duration.  O’Neill could have replaced the character with a dead white guy propped up in a chair ala Weekend at Bernie’s and you wouldn’t notice a difference. The Night Clerk is simply trying to get through his graveyard shift with as little effort as possible. An omniscient narrator who continuously commentates on the state of the Clerk’s wandering attention span is received by the audience with many laughs.

That doesn’t matter for “Erie” Smith though. He’s looking for anybody that will listen to him, even if he’s not really listening to him.

And thus you have the makings of a beautiful relationship in the latest production at the Washington Shakespeare Theatre:  a two-man, one-act play that is essentially a one-man monologue and character study.

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We Love Arts: Shakespeare’s R&J

From left: Alex Mills, Joel David Santner, Jefferson Farber, Rex Daugherty. Photo: Teresa Wood.

From left: Alex Mills, Joel David Santner, Jefferson Farber, Rex Daugherty. Photo: Teresa Wood.

Signature Theatre‘s show titled “Shakespeare’s R&J” is less a take on Romeo and Juliet than is it an alternate presentation of it. We the audience witness four young men, seemingly attendees of a very regimented all-boys private school, perform the play from a hidden copy that they unearth from below the floorboards. The boundary between the play and their own lives blurs and internal conflicts are acted out on top of Shakespeare’s text, with a little Midsummer Night’s Dream and a few sonnet lines tossed in the mix.

That’s how I witnessed it. Here’s how Signature and writer/director Joe Calarco describe it.

A repressive all-male Catholic boarding school bans Romeo and Juliet in favor of Latin conjugations and the Ten Commandments. Four students unearth a secret copy and steal into the night to recite the prohibited tale of adolescent passion. While it begins as a lark, the story gradually draws the boys into a discovery of universal truth that parallels their own coming-of-age. A riveting drama within a drama,Shakespeare’s R&J transcends the boundaries between play and player.

I’m not sure I’d agree with the full extent of that description. The show’s staging and the use of the long red drapery for all the fight scenes are superb. All four actors deliver their lines and emote quite well, with a small caveat I’m not sure I’d lay at their feet. The idea of overlaying the boys’ real lives on the play’s text is interesting, if a little flawed. The biggest problems seem to fall at Calarco’s feet, with a decision to have all four of the young men always acting “up at 11” and a pacing that pretty well removes the divide between the play and the play within the play.

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Entertainment, The Features, We Love Arts
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We Love Arts: Kafka on the Shore

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Michael Wong as Kafka and Dane Figueroa Edidi as Crow in Spooky Action Theater’s production of Kafka on the Shore. Photo credit: Franc Rosario.

“I think I just felt my crown chakra open,” my friend mused at intermission. A fan dancer in a white kimono had hypnotically moved across the stage to background narration of a rather graphic sexual nature. It was a fitting reaction to the crazy surrealism inherent in a Haruki Murakami novel. Entering his world through reading is intense enough, but as an audience member at a theatrical adaptation, prepare not so much to watch as to swim. Talking cats, walking brands, mass hallucinations – Kafka on the Shore is a risky choice for any theater company to tackle. Spooky Action Theater has just debuted the second professional production of Frank Galati’s adaptation of Murakami’s riddle-infused book, and the company’s ambitious choice is certainly to be admired.

Teenager Kafka Temura (Michael Wong) is on the run. Is he just another misfit or is there something more sinister in his past? Mr. Nakata (Al Twanmo) is on the hunt – for the kidnapper and murderer of local cats. Though touched in the head, he’s the perfect detective for the job, as the cats actually talk to him. Caught up in Nakata’s quest is truck driver Hoshino (an engaging Steve Lee), while (overly) helpful Sakura (Jennifer Knight) and enigmatic librarian Oshima (Tuyet Thi Pham) assist Kafka, as his crush on Miss Saeki (MiRan Powell) delves into the more darkly elemental realms of the psyche.

These twisting plot lines operate almost as alternate time waves, and you should be prepared to meander along with them without quite making sense of it all. Our wry spirit animal, Crow (a mesmerizing Dane Figueroa Edidi), bridges the worlds of theater and audience, adding to the breaking of realities. It all might be the melding of an Oedipal hero’s quest and descent into the Underworld, saturated with the gradual stages of initiation into the sexual mysteries – but there’s no need to crack that metaphorical code. Just let it work its quirky spell. Continue reading →

Entertainment, The Features, We Love Arts
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We Love Arts: The Motherfucker With The Hat

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When the WeLoveDC crew previewed this year’s theatre season, Jenn made note that Studio Theatre’s production of The Motherfucker With The Hat would surely stand out due to its R-rated name. I can assure you that the adult content doesn’t stop with the title, during the show you can expect the F-word to be tossed about like a football. There’s also an entire scene that features character Ralph D (Quentin Maré) in full frontal nudity. But the show is more than just shock value, it is actually a raw and jarring exploration of addiction, ambition, and recovery.

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Entertainment, The Features, We Love Arts
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We Love Arts: Henry V

King Henry (Zach Appelman) leads his men in the Battle of Agincourt. Folger Shakespeare Theatre. Photo credit: Scott Suchman.

King Henry (Zach Appelman) leads his men in the Battle of Agincourt. Folger Shakespeare Theatre. Photo credit: Scott Suchman.

As lean as the rough-hewn timbers that populate its set, Folger Shakespeare Theatre’s production of Henry V is more intimate than you might expect from a play set mostly in the hell of combat. It’s quietly dominated by the thoughtful performance of Zach Appelman as the young king. We watch the cruel necessity of his transformation to absolute monarch, losing friends to betrayal and waging the dirty business of war as he seeks to join England and France. This is a Henry V painfully rooted in psychological truth, and it works brilliantly.

Director Robert Richmond wisely sets this production as straight-up Elizabethean, free from flashy thematic restaging into some other era. That’s a relief to see, placing the text properly front and center. As our captive guide the Chorus (a wonderfully melancholy Richard Sheridan Willis) begins to tell the king’s tale, we become his complicit contemporaries as he attempts to impart some wisdom to his misguided country. The message of Shakespeare’s play? The road to being king isn’t easy, being a subject is worse, and the results of war are always inconclusive.

Appelman delivers familiar speeches anew with an extraordinary intimacy (most notably the famous “Once more unto the breach, dear friends,” pitch-perfect as an exhortation from a leader who will always go over the top first), and the small cast transforms themselves with lightning efficiency through multiple characters and locations. It’s all very trim and tight, showcasing the text with refreshing clarity. Continue reading →

Entertainment, The Features, We Love Arts
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We Love Arts: Zorro

Zorro Constellation Theatre

Photo: Andrew Propp

In Constellation Theatre’s new retelling of Zorro co-playwright and director Eleanor Holdridge cuts straight to the action. Unlike other hero tales which place emphasis on backstory and the journey towards a fully realized superhero, Holdridge spends minimal time before we see the iconic black mask of Zorro. Instead the 100 minute, single act production is packed with lots of swashbuckling that played out very well in the confined spaces of The Source Theatre. Fight director Casey Kaleba’s choreography is worthy of praise for it is one of the highlights of show. When swords aren’t drawn, barbs are exchanged through Holdridge & Janey Allard’s script. Audiences will see a familiar hero in Zorro (Danny Gavigan). When the mask is on Gavigan is charming, witty, and leaves his mark with three fell swoops of his sword.

However it is when our protagonist does not have his mask on that we see Holdridge and Allard’s new vision in this classic tale.

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Entertainment, The Features, We Love Arts
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We Love Arts: Les Miserables

(Photo: Deen van Meer)

There’s nothing that gives me chills like the opening melodies of One Day More. It’s one of my favorite ensemble numbers and it will always stop me in my tracks whether it’s in a feature film trailer or if it’s being done by an Asian YouTuber who sings all nine parts. It is only one of many memorable numbers in the musical adaptation of Victor Hugo’s novel Les Misérables. After over 25 years in production (the longest running musical in the world) the show continues to be a hit. Now on its fourth U.S. tour the show has grossed as much as a $1 million a week. Arriving at the National Theatre for its 10th time in The District since 1986, the all new production features new staging and sets inspired by the paintings of Hugo. However all the songs you’ve come to know and love are the same. I Dreamed A Dream, On My Own, Do You Hear the People Sing?, and the previously mentioned One Day More can be found in a powerful and vibrant show that continues to wow audiences after a quarter century on the stage.

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Entertainment, The Features, We Love Arts
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We Love Arts: The Pajama Men: In The Middle Of No One

When the duo of Mark Chavez and Shenoah Allen first take the stage you might notice they have dressed a little too casual for a night out at the theatre. Forget t-shirts and jeans that yours truly usually wears to review shows or the growing fashion controversy of leggings as pants. Chavez and Allen perform in nothing but two piece pajamas and bare feet. Of course that’s probably why they are called the Pajama Men; and in their latest show, The Pajama Men: In The Middle of No One, they march upon the stage at the Woolly Mammoth Theatre in outfits that make them looks like eight-year olds goofing around at a sleepover. Without any props or sets (outside of two chairs), they create and paint scenes out of thin air with that same child-like intensity and passion. Two sets of hands come together and all of a sudden you see a horse’s mouth. One stands behind the other and their arms join to create an alien being. What makes these two performers such a delight are the ways that they use their bodies to visualize scenes to the audience.

Combine that with non-stop jokes, wordplay, and vocal bits and the PJ men are the must-see comedy show of this holiday season.

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We Love Arts: White Christmas

White Christmas: Mara Davi, David Elder, James Clow, and Stefanie Morse / Sharon Sipple, 2012

White Christmas’ Mara Davi, David Elder, James Clow, Stefanie Morse / Sharon Sipple, 2012

Wear sunglasses as you enter the Kennedy Center Opera House for Irving Berlin’s White Christmas. Otherwise you might be blinded by the decked-out crowds, dressed head to toe in red suits and sparkling Christmas sweater sets.

It’s a festive occasion: the seasonal entrance of a classic film-made-musical that includes beloved tunes like “Blue Skies,” “Happy Holiday,” “Snow,” and of course “White Christmas.” Fortunately for audience members young and old alike, no one near me wore distracting jingle bell earrings, although a few people came awfully close with light up, Rudolph nose cuff links.

Also fortunate for us, the crowd’s costumes didn’t outdo the show we were about to see. White Christmas at the Kennedy Center is wondrous spectacle of a bygone era—an era that never really existed, but is at least an incredibly happy place.

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Entertainment, The Features, We Love Arts
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We Love Arts: A Trip to the Moon

Karen O’Connell as Laika and Katrina Clark as the Moon in Synetic Theater’s production of A Trip to the Moon. Photo credit: Johnny Shryock.

Over the course of this theatrical season’s start, I’ve seen three productions that represent (for me, anyway) the future direction of theater: Folger Theatre’s The Conference of the Birds, Synetic Theater’s A Trip to the Moon, and Studio Theatre’s The Aliens. Though each style follows a different track, all three are dedicated to resuscitating the living magic of the stage. As a consequence, I’m more excited about theater at this moment than I have been in a long time.

“Following” may not really be the right verb for visionary director Natsu Onoda Power, who takes the digital and makes it flesh in A Trip to the Moon. Earlier this year, Onoda Power showed us a daring combination of technical innovation and wistful emotion with Astro Boy and the God of Comics at The Studio 2ndStage. I loved it. So did Paata Tsikurishvili, artistic director of Synetic Theater, who consequently was inspired to ask the Georgetown professor to create a piece for his award-winning company. The fact that opportunities for such collaboration exist now in DC is cause for an ovation itself.

A Trip to the Moon is a paen to our very human need to understand that cold, lonely orb in the sky – we dream of it, we long to possess it, we both love and fear it. The safe choice would be to concentrate on the ethereal, romantic quality of its beauty – but we’re in the realm of risk-takers here, so there’s an attraction/repulsion aspect to this production instead. It’s not as balletic as previous Synetic offerings, and gives us goofy space explorers, glowstick hair, and moon dogs sniffing each other’s butts.

Risk-taking means there will be flaws. But there will also be brilliance.

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