Theatre Trips: An American in Paris and Meteor Shower

Hi everyone,

For Melissa's Kitties, I always intended to incorporate more posts about the plays, concerts, and other fun things I do throughout the year. I meant to start doing this in January after I saw An American in Paris, here in D.C., and Meteor Shower in New York City. But the day after I returned from New York, I came down with a cold that made me lose track of the time. I'm still catching up, so here's some old, interesting news from the theatre world.

An American in Paris

This new An American in Paris musical, which I attended at the Kennedy Center on January 6, is inspired by the 1951 classic film, starring Gene Kelly and Leslie Caron. It tells the story of an ex-GI who stays in Paris after World War II to follow his dream of being a painter. He falls in love with a French girl, but their relationship has complications.

If you've seen the movie as often as I have, you'd notice that this stage version is different. For example, some of the characters have different personalities than they do in the movie. (What bothered me most, of course, was that Jerry Mulligan isn't as friendly as Gene Kelly's version.) The French girl, Lise, is not a sales girl in a local shop but a ballet dancer, working toward her big break. (I consider this an improvement.) All the guys fight over her in this story. Also, some of the songs, all written by George and Ira Gershwin, are missing or different from those in the film.

These changes are okay because this stage musical is based on its own new book by Craig Lucas. This story has a more realistic tone that matches the post-war era. It stands on its own, but it pays homage to the film with nice choreography by Christopher Wheeldon and impressive moving sets that seem to dance across the stage to the music. (It reminded me of how things moved in the historic 17-minute ballet at the end of the film.) In its own way, this version of An American in Paris still captures the art, excitement, and romance of the city and the promise of new beginnings. Find An American in Paris on tour for a nostalgic journey through the City of Lights. 

Meteor Shower
I heard about Meteor Shower when it was first announced that 1) Steve Martin wrote this new play, and 2) the cast includes Amy Schumer (making her Broadway debut), Keegan-Michael Key (from Comedy Central's Key & Peele), and Laura Benanti (a Broadway star most recently made famous for her great impression of Melania Trump on The Late Show with Stephen Colbert). I had to see it! My theatre buddy and I planned an emergency road trip to New York for the show at Booth Theatre on January 13, a week before it closed.

The story, which takes place in 1993, is about a California couple, Corky (Amy Schumer) and Norm (Jeremy Shamos), who are expecting another, more sophisticated couple over for dinner. Before they arrive, the other couple, Laura (Laura Benanti) and Gerald (Keegan Michael Key) decide to play tricks on their friends by telling them lies about their own past, like how Laura was a really fat child and Gerald had bad parents. The witty conversations that follow throughout the evening spark plenty of laughter because of the wonderful writing and performances. Also, a meteor shower happens and someone gets hit, but don't worry, it's hilarious.

Jokes and sprinkled throughout Meteor Shower in gestures, looks, reactions, and quips – all of which I could tell came from the mind of Steve Martin. Here are just a few examples:

• While they are preparing for their guests to arrive, Corky and Norm catch themselves saying snide remarks to each other during their conversations. Each time, they stop and run to face one another and hold hands. As if fresh from relationship therapy, they calmly tell each things like, "I understand that you probably didn't know you hurt me. I'm asking you to be more careful with my feelings." and "I love you and I know you love me." Once satisfied with their exchange, they nod to confirm forgiveness, scramble back to whatever they were doing, and resume their conversation. 

• Keegan-Michael Key made me laugh the most: When he first shows up, he yells his responses to any questions and dominates everyone's personal space. 

• Between scenes, Laura Benanti and Amy Schumer take turns doing a short dance, like a shuffle or tap routine, while classical music plays and the set rotates from the interior side of the home to the backyard side. It's unexpected silliness. (I imagined Steve Martin thinking this up: How are we going to fill the break? Let's just have Laura Benanti do the Charleston on the side for 30 seconds.)

At first, what's happening in this play is unclear. It becomes clearer when you realize that some scenes are repeated from different perspectives while other scenes share earlier conversations. But nothing is completely clear until the end when it's revealed that Laura and Gerald are the subconscious selves of Corky and Norm. Now, if only I could remember everything that was said and done in the last 80 minutes, I'd be set. Since none of us can see it right now, armed with this new context, here's hoping we can all find it in writing somewhere. Look for Meteor Shower if it tours. Steve Martin has given us a funny thinker.







Posters: An American in Paris © Allied Touring; Meteor Shower © DKC/O&M

2016 in Review: Dance, Dance, Dance!

Hi everyone,

It's hard to convince people to join me for dance performances, but they are well worth the price of admission. Continuing my look back at 2016, here's an review of the shows I saw last year.

Bowie & Queen (The Washington Ballet) 

Wandering around the Kennedy Center before seeing a show there, I saw the Washington Ballet's poster for its Bowie & Queen show. The image was of two glammed out ballet dancers striking poses – one was clearly meant to represent David Bowie during his Aladdin Sane days, while the other was obviously meant to be Freddie Mercury. I gasped, took a photo of it, and posted it on Facebook, noting that I was getting a ticket for whatever this was. My sister responded, saying she wanted to go too!

By the time the show came around, David Bowie had died. I'd never been so upset about a famous person dying as I was when he did. I attended a few local tribute concerts before realizing I wasn't enjoying the songs as much as hearing Bowie's own voice sing them. And, it was five months before I was ready to switch my iPod from my Bowie playlist back to shuffle mode. So although this concert was planned well in advance of Bowie's death, I set the bar unfairly and unreasonably high for how good it had to be.

I had some disappointments: First, no ballet dancers were dressed up as David Bowie or Freddie Mercury, as the poster had implied. That's false advertising. Also, the show was not a mix of David Bowie and Queen music, as I had assumed it would be. The first half was a world premiere dance, titled "Dancing in the Street," choreographed by Edward Liang. It focused on Bowie's introspective side and included two obscure 1966 tunes ("Good Morning Girl" and "I'm Not Losing Sleep") along with his 1985 cover with Mick Jagger of "Dancing in the Street."  From David Bowie's vast library of amazing songs, these are the only ones the choreographer chose to use! They were intertwined with live instrumental music by Gabriel Gaffney Smith, which my sister and I enjoyed more than the unfamiliar Bowie songs. My sister even commented that some of the dancers were, at times, a beat behind in their steps.

Now that I have a handle on my grief, I appreciate the Bowie-inspired dance much more and wish I could give it another look. It attempted to tell a story, revealing the thoughtful and deliberate relationship he had with his fans, behind his personas. It was intellectual, concise, and quiet, like the man himself. I think that Bowie would have loved it because his music was used to inspire new art from a completely unexpected perspective. You can't get much better than that.

Here are some highlights from the Bowie side.

Bowie dance highlights courtesy of The Washington Ballet, 2016 

The Queen side of the show – titled "Mercury Half-Life" – was exhilarating and everything I expected the Bowie side to be. It was Queen hit after Queen hit – "Bohemian Rhapsody," "We Are the Champions," "We Will Rock You," "Under Pressure" (Freddie Mercury's duet with David Bowie) and many more. Choreographed by Trey McIntyre, the dances were exciting, the lights were bright, and the music was loud. That's all I wanted. Trey McIntyre, please create a David Bowie show next!

Here's some solo work from Mercury Half-Life.

Selection of Mercury Half-Life Solos
(Benjamin Everett Behrends, courtesy of NetworkDance, 2013)

DEMO Series (Damien Woetzel)

I went to two shows that were part of the Kennedy Center's DEMO series because of Lil Buck's involvement. I know Lil Buck, a hip-hop "jookin" dancer, from his involvement with the TV show "So You Think You can Dance." He's amazing and can be seen on TV these days in variations of this Apple commercial. Conceived by Damian Woetzel, the DEMO series explores different themes through a variety of art forms.

In April, DEMO: Places offered varied entertaining performances representing arts from around the world, including hip-hop dancing and authentic music from India, Ireland, and China. It also included some original American songs (sung by Kate Davis, who is new to me but I liked her voice and songs) and familiar classical music, like Stravinsky and Bach.

The next day at noon, I attended a Citizen Artist Event that was advertised in the playbill. It was presented by the Hirshhorn Museum and Sculpture Garden in collaboration with the Kennedy Center.  The same performers presented a similar free performance outside the museum's front doors, where we sat on the ground in a wide circle to watch them. These are the types of things that make D.C. awesome.

Six months later, DEMO: Heroes focused on performers and mentors who have inspired future generations. I was excited that the first dance noted in the playbill was a tribute to Gene Kelly and other dancers, but my first thought was that the list missed the opportunity to acknowledge the title of the show with a performance of one of David Bowie's signature song, "Heroes." (Yes, I am still sad.) But great minds think alike because Kate Davis kicked off the show performing this song with her acoustic guitar while Lil Buck glided around her. (In fact, this show was named after this song, inspired by the outpouring of tributes paid to artists in 2016, including David Bowie.)

I knew most of the mentors they chose to highlight in this show. Aside from Gene Kelly and Fred Astaire, they also paid tribute to dancers Martha Graham, Gregory Hines and Sammy Davis, Jr., and George Balanchine, among others. For music, they honored opera singer Renee Fleming, Stevie Wonder and Oscar Peterson (with a piano performance by 12-year-old blind prodigy Matthew Whitaker), and Leonard Cohen (with a performance by the Musicorps Wounded Warrior Band). One of the most poignant pieces was "Vision and Justice," a video collage of photographs set to segments of speeches by John F. Kennedy.

These DEMO series concerts are not only educational but entertaining, offering unexpected combinations of art forms. Prepare to be surprised and inspired! While not the same show I saw, this video is a sampling of what to expect from a DEMO show.

Works in Progress at the Guggenheim: DEMO with Damian Woetzel, 2014

The Blues Project (Dorrance Dance with Toshi Reagon and BIGlovely)

I came back to the Kennedy Center to see The Blues Project by Dorrance Dance with Toshi Reagon and BIGlovely. I was impressed by Michelle Dorrance when I saw her on The Late Show with Stephen Colbert earlier in the year.

This tap-happy show was accompanied by live blues music by Toshi Reagon and BIGlovely, who played behind the dancers. Although I hadn't heard of Toshi Reagon and BIGlovely before, some people in the audience were longtime fans. Now I'm a fan too – I liked their songs and style. This performance introduced some inventive tap moves. I liked the colorful costumes and appreciated that the dancers comprised a diverse group.

Check out this preview to get a taste of the exciting performances in The Blues Project.

The Blues Project: Dorrance Dance and Toshi Reagon and BIGlovely, 2016

Dancers are amazing athletes, and they're energy is contagious. Treat yourself to a show. It's good for your health, and you just might come away from it floating on air, just like them.

Best,






Image credits: Bowie & Queen: Jennifer Zmuda, Demo Series: Teresa Wood, and The Blues Project: Christopher Duggan

Mysterious Thelonious

Hi everyone,

Jason Moran

Last March, the Kennedy Center celebrated Thelonious Monk with two events, a listening party and an homage to Monk's landmark Town Hall Concert in New York in 1959. Here's how super cool they were.

Thelonious Monk Listening Party 
(March 21, 2015)

When Jason Moran took over the post of Artistic Director of Jazz at the Kennedy Center, I had no idea who he was. I don't know if these listening parties at the Kennedy Center started with him, but they're genius!

Thelonious Monk always wore great hats. 
© Michael Ochs/Getty

Thelonious Monk attracted me to this event, which had no description. It turned out to be just as it sounds: a listening party, during which we listened to pieces of music and talked about them afterward, "like you used you to with your friends when you brought home a new record," Jason Moran explained. I didn't get together with my friends to discuss my favorite albums when I was younger, but I knew what he meant: whenever I bought a new one, I listened and studied it as soon as I got home. This idea was right up my alley, and who's better talk about than Thelonious! At this event, about 30 of us sat in a circle with panelists Jason Moran, bassist Taurus Mateen, and French horn player Robert "Brother Ah"  Northern, who actually performed with Thelonious Monk. We focused on the large speakers set up in the center of the room.

The panelists picked the songs for the program and explained why they were special to them. This was more of a talk amongst themselves than a group discussion, and I loved learning first-hand accounts of Thelonious Monk. Robert Northern told us that the musician was inspired to write "Evidence" after watching a community basketball game and thinking about his therapist, who Monk said had "no evidence" that he's manic. Aside from "Evidence," we listened to "Little Rootie Tootie," "Crepuscule with Nellie," "Thelonious," and "Nutty." I'd never heard "Nutty" before, and time ran out before they could talk about it. Who knew that this mysterious $12 educational event would leave me wanting more? It was an hour well spent and one of the many reasons why the Kennedy Center is one of the best places in town.

Jason Moran's In My Mind: Monk at Town Hall, 1959
(March 28, 2015)

The Thelonious Monk listening party served as prep for this main event, a multimedia re-imagining of Thelonious Monk's Town Hall concert in New York in 1959. Here's Jason Moran talking about it:

Jason Moran previews In My Mind: Monk at Town Hall, 1959. © The Kennedy Center 

Thelonious Monk thinks and plays the piano like no one else can. The concept of this show – to capture that spirit in a new piece of work – seems like an impossible task to me, so I was excited to see the attempt.

To start the show, Jason Moran walked on stage, sat at the piano, and put on giant headphones. Thelonious Monk began to play on the speakers, and soon Jason Moran began to play along in his own way. As they played together, on a large screen above him, we toured Jason Moran's childhood home as he talked about his upbringing and introduction to Thelonious Monk's music when he was 13 years old. The narrative on screen also introduced Jason Moran's band – The Big Bandwagon – Ralph Alessi on trumpet, Walter Smith on tenor saxophone, Frank Lacy on trombone, Bob Stewart on tuba, Taurus Mateen on bass, and Nasheet Waits on drums. One by one, they joined in on playing introductory song with Jason Moran.


This tribute to Thelonious Monk's 1959 Town Hall concert was a mix of music and biography. Following the same set list as the original concert, the program paused at times for Jason Moran's stories about Thelonious Monk's influence on his own life or to play archival video and audio recordings of Thelonious Monk himself – giving multilayered insight into the man and his music.

The first song, "Thelonious," was followed by "Friday, the 13th" and "Monk's Mood." Then, after the screen informed us of Monk's family ancestry and roots in slavery, the band revisited "Thelonious." They then broke into a New Orleans-style funeral song as each band member headed backstage, one by one. We could hear them playing in the distance; as their sound faded, Thelonious Monk took our attention through a 1959 audio recording, during which he talked about music and the songs he was rehearsing for the Town Hall concert.

Sometimes, Thelonious Monk liked 
to dance mid performance. 

After he finished, the band returned for the second half of the show. They played "Little Rootie Tootie," "Thelonious" (again), and "Crepuscule with Nellie." They made each of these songs their own, playing off of the original. It felt like they were inside Thelonious Monk's chaotic mind coming up with these tunes. Each musician had moments to shine, playing their own melodies, but eventually they all came together to play the song we recognized.

By the end of the show, all the musicians wore headphones again, listening to and jamming with Thelonious Monk. One by one, they took off their sets and left the stage. This time, they walked through the aisles of the orchestra level and out the concert hall doors. Jason Moran was the last to leave, jumping off the stage to join his bandmates in the Kennedy Center's main hall. Out there, we crowded the main-level entrance and stairways, watching them finish the song and cheering as they did. I wonder if anyone attending other performances at the Kennedy Center that night knew what they were missing. Thelonious Monk was in the house!

Watch this episode of Jazz in America, hosted by bassist Christian McBride, for more from Jason Moran about Thelonious Monk's life and influence and to see segments from this amazing show.

Enjoy!

2015 in Review: That's Dancing!

Savion Glover's STePz, Strathmore, Bethesda, Maryland (February 6, 2015)

On the STePz... © Andrea Mohin/New York Times

Savion Glover always brings something new. Unlike any other dancer, this guy makes me sit at attention and, by the end of each performance, my mouth is usually gaping and my eyes are dry from not blinking.

STePz seemed more formal than the other free-flowing Savion Glover shows I've seen. This one celebrated the history of music and dance. It paid tribute to several dance styles other than tap, as everything from classical and Latin to pop blasts through the speakers. Savion performed a moving solo honoring tap pioneer Bill Robinson during "Mr. Bojangles," where he and his shadow evoke the past with Robinson's familiar moves. On the fly after the intermission, he and the three lovely lady tappers accompanying him during the show – Robin Watson, Sarah Savelli, and Lisa LaTouche – decided to sing an acapella verse and chorus of Michael Jackson's "The Way You Make Me Feel."

The show included a few short sets of stairs (the STePz?) on which Savion and the other dancers tapped – sometimes choreographed, sometimes improvised. In one memorable moment, Savion and fellow hoofer Marshall Davis, Jr., battled it out on the steps, mimicking and adding to each other's improvisational beats. In another, the three ladies took advantage of the stairs for some choreographed tapping that saluted other dance styles, like ballet, tango, and jazz. The show ended with the whole troupe dancing to Stevie Wonder's "Sir Duke." They froze at the end in classic superhero poses with one arm punched skyward. On cue, we erupted in cheers – until we had to leave and deal with our delirium at home.

Savion Glover never disappoints me. Here's a taste of the show:

Savion Glover's STePz video © Savion Glover

Alvin Ailey American Dance Theatre, Kennedy Center, Washington, D.C. (February 7, 2015)

From "Revelations" © Gert Krautbauer

Seeing the Alvin Ailey dance troupe is always a good idea. Having said that, my heart was still beating to Savion Glover's taps from the night before when I attended this afternoon matinee, so my memory of it is vague. However, I liked this performance very much.

Whenever the Alvin Ailey company comes to the Kennedy Center, it's booked there for a few days and offers different dances at different performances. This show's dances were created over the course of more than 50 years. "Polish Pieces" first appeared in 1996, "Bad Blood" premiered in 1986, and "Caught" is from 2004. The showstopper at the end of every show this time around was "Revelations," a dance created in 1960 and set to traditional, spiritual music.

What I always remember about Alvin Ailey dance shows is the bodies – how the dancers hold their alignment with precision and move in inventive ways. The music informs the movements, and the costumes accentuate the emotion. "Revelations," for example, sweeps you up as the dancers in full colorful skirts twirl across the stage in unison. Alvin Ailey American Dance Theatre gives you a full experience that touches all the senses through movement and leaves you with something new to talk about afterward. This afternoon's inspiring performance had us singing along, cheering, and clapping for encores.

It's a coincidence that I saw a story about the Alvin Ailey dance troupe on PBS Newshour last night. Correspondent Jeffrey Brown talked to Artistic Director Robert Battle about his aim to take the company in a new direction while honoring its storied past. Check it out:

Historic Dance Company Prepares for New Steps video © PBS Newshour  

Twyla Tharp 50th Anniversary Tour, Kennedy Center, Washington, D.C. (November 13, 2015) 

From "Yowzie" © Kevin Parry

Although I've always known her name, I'd never seen Twyla Tharp's dances until this 50th anniversary performance. "Long ago, I made the choice to mark this point in my career not with events celebrating the past, but with new dances showing what I had learned and some of what I had experienced during this working life," Tharp explains about the show. A short fanfare piece introduced each half of the the program, and while the two halves couldn't have been more different in style or music, they somehow made sense together.

The first half explored Bach's preludes and fugues through balletic moves. During these short piano pieces, the dancers, who were dressed in plain but bright one-color costumes, personified the notes being played. Each entertaining piece was different in the number of dancers and their stories. All were infused with surprising funny moments told through dance. The second half showcased "Yowzie," a performance set to a series of 1920s jazz tunes, many of which I didn't recognize, though I knew the composers, like Jelly Roll Morton and Fats Waller. For these dances, the performers were dressed in bright, patterned costumes and accessorized with headbands or hats. They never stopped moving and sometimes looked like jelly bouncing into and off each other in joyful, controlled chaos.

The innovation Twyla Tharp's choreography is a thrill to watch. I love most that the humor and joy she finds through her work is evident and contagious with every step. Here's a snippet of the show:

Twyla Tharp 50th Anniversary Tour video © Twyla Tharp

Dancing is good for the soul, even if you're just watching. So, go treat yourself to a performance and you might find yourself dancing your way home. 

The Dynamic Duo: Danny Elfman and Tim Burton

Hi everyone,

Danny Elfman and Tim Burton
© Kevin Winter/Getty Images

If you follow my Johnny Kitties series, you already know how much I love Tim Burton through his collaboration with Johnny Depp, but I think I actually fell in love with Tim Burton first. I've seen all of his movies since the very first one, Pee-wee's Big Adventure, in 1985, and that's when his collaboration with composer Danny Elfman started. At the time, I only knew Danny Elfman as the lead singer of the rock band Oingo Boingo, who performed the title song for the great '80s classic comedy Weird Science. (The video for this song was on MTV often, and who could forget that face and flaming orange hair?)

Pee-wee's Big Adventure marked the start of a 30-year-and-counting creative partnership between these two artists. Tim Burton's films are unmistakably his artistic vision, and Danny Elfman complements them with equally inventive musical scores. They've worked together on 16 film projects so far and, last fall at the Kennedy Center, the National Symphony Orchestra celebrated all of them – except for Big Eyes, which wasn't yet completed at the time – in a multimedia retrospective concert, Danny Elfman's Music from the Films of Tim Burton.

I knew I'd love this concert, but it far exceeded any of my expectations. Can you imagine how my excitement escalated when I opened the playbill and saw this?

For this concert, Danny Elfman created new, shorter arrangements of the scores listed in the program that capture their unique spirit and memorable moments. An introductory medley opened the show as a giant screen above the stage displayed a montage of film clips from Tim Burton's corresponding films. Then, the symphony launched into tributes to Charlie and the Chocolate Factory (listen to that film's opening theme here) followed by Pee-wee's Big Adventure. (This music makes me so happy! Listen here. This project was not only the first movie Tim Burton ever directed but also the first film score Danny Elfman ever wrote.) In addition to film clips, the screen displayed several of Tim Burton's film-inspired artwork during each piece. We saw how his weird, wonderful paintings translated into each movie. Tim Burton supervised the development of this concert, choosing which film scenes and artwork to show during each suite. Through much of each piece, though, the screen displayed a gray and black squiggly-patterned drawing that Tim Burton created specifically for use during this concert. He wanted the audience to focus more on his friend's music than his films.

At the end of Danny Elfman's exuberant, joyous concoction for Pee-Wee's Big Adventure, we were in stunned silence for at least 10 seconds before slowly remembering to clap. Our conductor John Mauceri turned around to face us and said, "Clearly, we've mesmerized you..."

It was true! The music, artwork, and artistry created such an intoxicating, immersive experience. We were dazed.

I was surprised by how emotional I became during this concert. I grew up watching all of these movies, making trips to the theaters to see them when they were first released. It hit me that these two have been in my life since I was 11. They saved the haunting theme for Edward Scissorhands, which may be Danny Elfman's most recognized and imitated work, for last because everyone loves it most. Hearing it live with a full choir, courtesy of the Choral Arts Society of Washington, nearly made me cry. But I got distracted by someone two rows ahead of me who was already wiping away her tears.

Sandy Cameron photo © Juan Ocampo/
Nokia Theatre L.A. Live/Bernstein Associates

Then, the Edward Scissorhands suite shifted into happier haircut mode. Violinist Sandy Cameron, with wild hair, dark eyes, and a black leather and lace outfit (no doubt inspired by Edward's look), suddenly got my attention on stage. She played speedily, writhing with the melody like a snake during her electrifying solo. Everyone cheered as she bowed dramatically when finished (and the piece wasn't even over yet). Watch out for her; she's going places... It was clear during this concert that all the musicians had fun performing this music. The emotion and whimsy is infectious!

As if we weren't delirious enough, the show offered an encore with Alice in Wonderland, featuring 12-year-old soloist Thomas Lynch. (Listen here for Danny Elfman's "Alice's Theme.") This light, exciting piece just whet our appetites for what's to come; Alice Through the Looking Glass, Danny Elfman's upcoming film score project that continues Alice's story, is due in theaters next year. Although Tim Burton is not directing this time around, you'll recognize other familiar faces. Are you pacing the floors like I am?

Well, you don't need to be familiar with Danny Elfman or Tim Burton to enjoy this exhilarating show. I took someone with me who didn't know who they were. "That makes me even more excited about you coming with me," I told her. "You don't need to have seen all the movies to enjoy the music. Danny Elfman is different; the music is interesting enough on its own. I think you'll like it!" As predicted, she came out of it a fan – yay! If you're still not quite convinced, this trailer will give you an idea of the awesomeness that awaits you....


Danny Elfman's Music from the Films of Tim Burton video trailer: http://youtu.be/p-3jFfvCSdE.

Check out this unforgettable multimedia concert if it stops by your town! In addition to various spots around the country, it will play July 2-12, 2015, during New York's Lincoln Center Festival. Enjoy!

Best,

2014 New Moves: Symphony + Dance Festival

Hi everyone,

Last year, an email from The Kennedy Center caught my eye. It advertised an upcoming National Symphony Orchestra (NSO) performance that included music from Leonard Bernstein's On the Town and On the Waterfront, complete with dancers. On the Town is one of my favorite Gene Kelly movie musicals about three sailors on 24-hour leave in New York City. This performance was one of three that comprised the Kennedy Center's two-week New Moves: Symphony + Dance Festival. By the end of the night, I had decided to attend all three of the New Moves performances. Here's how they went.

NSO Concert #1. William Shuman, Marc Neikrug, and Leonard Bernstein (May 8, 2014)
For this performance, I got a cheap seat in the front row of the first tier's right-side balcony and had to lean forward to see more of the stage. I couldn't see some of the performers because of the extreme angle of my seat. Note to self: next time, pick a seat on the floor in the center for a straight-on, full view.

My first surprise of the night was that the dancers only performed during selected pieces of the choreographers' choosing. The first half of this show was music only.

William Schuman's "New England Triptych" was a collection of interesting sounds without much melody. It used lots of horns, making it seem very patriotic at times. I liked parts of it, particularly the second movement but, as a whole, it was too modern for my taste. The next piece, "Bassoon Concerto" by Marc Neikrug, had more promise from what I read in the program notes: The composer tried to steer the instrument away from its comical reputation, it explained. Soloist Sue Heineman was great at playing the bassoon, but I still couldn't take its sound very seriously. The bassoon makes me think of cartoons.

The second half included the music I came for and the dancing. The three dance episodes chosen from On The Town were randomly selected from the Broadway show. Although not the same as the movie that I know so well, I recognized and was excited by the music they played.

My second surprise was that the dancing was nothing like Gene Kelly's choreography, a revelation that disappointed, confused, and pleased me all at once. As in the musical, six dancers (from Keigwin and Company) – three girls and three boys – portrayed the sailers and their newfound girlfriends, but that's where the similarities ended. The barefoot dancers were full of New York energy and used the entire length of the 16-foot-by-80-foot extension of the stage in front of the orchestra. It was real-life Cinemascope. (This is where my skewed view became problematic.) I liked the On the Waterfront dance even better, probably because I was less familiar with the music and had no dance routines already memorized.

My third surprise came after the show ended. The performance I chose to attend was followed by a free "After Words" session, a discussion and question-and-answer opportunity moderated by NSO Director of Artistic Planning Nigel Boon with the guest conductor Tom Wilkins, composer Marc Neikrug, bassoon soloist Sue Heinman, choreographer Larry Keigwin, and Kennedy Center Director of Dance Programming Meg Booth.

Learning from choreographer Larry Keigwin (who choreographed Broadway's If/Then) that the Bernstein family and trust forbid copying of any of On the Town's original Broadway show or movie musical choreography made me appreciate his work more. "It was freeing, in a way," Mr. Keigwin said of the restriction. The biggest challenge, however, was rehearsing in a 30-foot long New York studio for a performance in an 80-foot long space. "But I had the dancers go through it five times when they got here," he shrugged. Discussions with such creative people always inspires me, so I made a point to attend the festival's next two performances, including the "After Words" for each.

NSO Concert #2: George Gershwin, Samuel Barber, James Oliverio, and Duke Ellington (May 13, 2014)
Another reason I decided to attend the remaining two performances was that the lineup of this second concert sounded even better than the first. The promise to play selections for orchestra from George Gershwin's Porgy and Bess and a few others tunes by Duke Ellington was enough to convince me. This time, I bought a pricier ticket for a better view on the ground floor in the center section, about 10 feet from the stage.

The only music I recognized at this concert was George Gershwin's, but I liked everything I heard. The excerpts from Gershwin's Porgy and Bess had me singing the songs in my head. Next, Samuel Barber's "Souvenirs" was a series of pieces that explored dance styles, including the waltz, tango, and two-step. I wanted to see dancers with it, but that's not what the choreographer chose.

The final piece of the first half of the show was Timpani Concerto No. 1, "The Olympian," featuring NSO's principal timpanist Juavon Gilliam. Through this concerto, composer James Oliverio wanted to create a piece where the timpani deserved a place in the front as virtuoso soloist. "I wanted to stretch the instrument," he said. So, those giant drums that typically stay in the back of the orchestra were now spotlighted up front. The hardest thing for the musician was finding all the drums he needed to perform the piece; some were his, some were borrowed, and some belonged to the NSO.

Perched on a swivel chair, Mr. Gilliam was surrounded by eight drums of different sizes. He maneuvered in his chair as if it were an amusement park ride, constantly hitting pedals with his feet and tuning the instruments while he banged on them, sometimes to carry the melody of the piece. It was a sight to see from 10 feet away, a great showcase for an instrument that's usually relegated to the back and only assigned a few notes during high-impact moments. Mr. Gilliam practiced this piece for months in the Kennedy Center basement. He even brought in a TV so that he could catch some basketball games while he worked, yet he downplayed how effortless his performance seemed: "I'm just trying to hit the right notes at the right time."

The second half of the show was all about Duke Ellington. "Giggling Rapids" from The River was a wonderful, fast-paced whirl of a song, after which guest conductor Tom Wilkins – who conducted all three of these concerts – turned to us to let us know when we could start clapping, "That's all we got," he nodded. (This conductor, from Nebraska, was cool! You could tell because he wore black socks with bright, wiry vertical stripes. He told us that he'd wanted to be a conductor since he was 8 years old.)

Two pieces from Three Black Kings followed, "King of the Magi" and "Martin Luther King." While unfamiliar to me, they were unmistakably Duke Ellington's. The final piece, called "Harlem," included dancers from the New Ballet Ensemble in Tennessee. The New Ballet Ensemble is a youth development program that provides arts education after school and beyond for kids who can't afford it. The nine dancers representing the company on stage were of all ages. Inspired by a New York performance she saw of Martha Graham's dance for "Appalachian Spring," choreographer Katie Smythe had the performers portray different personalities through dance styles to paint a diverse portrait of the Harlem scene. She gave the dancers some leeway to improvise at times and noted that using live music makes all the difference. "It gets in your blood and your bones and your heart and the goosebumps on the top of your head," she explained. "You can't do that with recorded music."

No one in the room could help being inspired and humbled by the New Ballet Company's mission and exhilarated by the joy and exuberance of these dancers and the music. Not only was this my favorite concert of the three, but this was my favorite performance. When planning the evening's program, conductor Tom Wilkins said that he and NSO Artistic Director Nigel Boon knew they found a combination of pieces that worked really well together: "We were walking out of the building last week going, 'We're geniuses!'"

NSO Concert #3. Michael Daugherty, George Walker, Aaron Copland, and John Adams (May 16, 2014)
This concert was the great unknown. I was unfamiliar with the composers, but I bought a ticket anyway, confident that they wouldn't let me down. This time, the Kennedy Center emailed me a coupon to access the most expensive seats in the house at a cheap-seat price. I'll take it!

Michael Daugherty's "Red Cape Tango" from Metropolis Symphony was the first and my favorite piece, capturing the comic-book death of Superman. I could see it happen thorough the dramatic sweeping sounds, complete with church-bell chimes. "Sinfonia No. 4 (Strands)" by George Walker is modern and a little frantic. "Appalachian Spring" by Aaron Copland, which is probably the most popular piece of the bunch, easily sparks the imagery its title suggests.

All three of these pieces have been paired previously, and some famously, with choreography. So, choreographer Jessica Lang chose to work with her dancers on John Adams's "Violin Concerto," which had no such familiar connections. Her modern, unique creation began in the chorister seats above the stage. The nine dancers moved among the rows, sometimes in unison and other times not, at a slow pace while violin soloist Leila Josefowicz frantically played her instrument as if it were a race to the finish. She told us later that she's played the concerto so many times now that people have started asking her why she continues to revisit it. "If we said that about Beethoven of Brahms," she countered, "we'd never have any performances." Well played.

The dancers made their way down to the stage after the first, 15-minute-long movement, continuing with random sculptural moves that only dancers can achieve. It was so impressive that many of us, mesmerized by the performers in front of us, lost track of the music.

During the "After Words" discussion, some audience members complained that the dancers, while amazing, distracted them from the music and musicians. But composer Tom Wilkins advised, "Don't cheat yourself out of a new experience just because you like one more than the other. Just treat it like dessert." One audience member had another solution, "Come back tomorrow and see it again." I was all for that idea.

The goal of the New Moves: Symphony + Dance Festival was to mix things up. While sharing the diversity of American music, it brought the performing arts of music and dance together. The festival erased categorical lines and instead embraced connection and collaboration. One audience member summed up our enthusiasm about this experiment well: "I'm excited that the Kennedy Center is fusing the communities, taking time out of your normal schedule – normal for the Kennedy Center – and painting a door for that child..."

Just inspiring one person to think outside the box would make this festival a success, but I can attest that it inspired many. Here's to the next New Moves: Symphony + Dance Festival, whenever that may be. See you there.

Best,


Credits: NSO Concert #1 dance photos © Kyle Manfredi; photo of Juavon Gilliam courtesy of Kennedy Center; NSO Concert #2 photo © Scott Suchman; NSO Concert #3 photo © Takao Komaru 

Catching Some Stars

Hi everyone,

Whenever I go to the theatre, I leave wondering why I don't go more often. Theatre amazes me: some brave actors get on stage and tell you a story in the moment from only a few feet away! The cast and crew of each production transport you into their world for just a couple hours and leave you with the gift of a unique exhilarating experience.

I've seen two great shows recently that I can actually share with you before they close on February 16. (Look at me being all timely!) Catch these if you can!

Photo © Don Ipock, courtesy of Arena Stage

The Tallest Tree in the Forest. This play by Daniel Beaty explores the life of singer/actor Paul Robeson, whose increasing activism led to a life of difficult choices and constant struggle. Once considered the most popular African-American in the world, Paul Robeson is probably best known as the guy who sings "Ol' Man River" in the film adaptation of Show Boat. This play reveals the deeply thoughtful man behind that booming voice, who always spoke his mind and stood for what he believed.

Daniel Beaty's performance is a tour de force; he sings 14 songs and portrays more than 40 characters in this world-premiere production at Arena Stage! In the playbill, he explains what inspired him to create such an ambitious play honoring Paul Robeson: "When I found out the breadth of all he had done, I was both astonished and very upset that I had not learned about this giant figure. I feel like he epitomizes the artist activist. I wanted to find the right space and the right vehicle to bring him back to the social discourse, but to do it in a way that is as challenging and as complex and layered as he was." Carried by Daniel Beaty's powerful performance on a minimal set with few props and innovative staging, this one-man-show sheds light the key moments of Paul Robeson's life that informed his character. The Tallest Tree in the Forest captures the extraordinary life of a complicated man who should be remembered not only for his talent but for his heart.

And now for something completely different....(with some surprising similarities).

Photo © Jenny Anderson, courtesy of The Kennedy Center

Peter and the Starcatcher. Written by Rick Elice and based on the novel by Dave Barry and Ridley Pearson, Peter and the Starcatcher is a prequel to Peter Pan that explains how he became the boy who never grew up in a fantastical place called Neverland. When this play first started, I wondered what I was in for. Relying mainly on a decorative backdrop and a only a few essential props, your imagination is tested to envision this story, just as it should be for the tale of Peter Pan! If you believe...with some swift maneuvering of a string of white triangular flags, for example, you really can see the crocodile's threatening jaws and pointy teeth. Some rapid swishing of rope lines perfectly represents the waves of the sea, and as the ship creaks and cast members lean, you too feel the sway of the ship. It's clear why Peter and the Starcatcher is the winner of five Tonys, most of which recognize these kinds of technical strokes of genius (i.e., lighting, sound, scenic design). With only a dozen people in this talented cast, like The Tallest Tree in the Forest, many are tasked with multiple roles - this time culminating in more than 100 characters!  Actors easily transition from portraying a pirate ship crew member gambling on the deck to an inanimate wall or swinging door. The exciting inventiveness of this production is impressive and only adds to the charm of the show. And, with quick, clever dialogue and plenty of jokes, this Peter Pan story isn't just for the kids.

Currently playing at The Kennedy Center, Peter and the Starcatcher is on tour across the country. See it to learn the "real story" behind the myths and legends tied to Peter Pan and his eternal nemesis Captain Hook. Trust me, the captain's reaction to losing his hand is worth the price of the ticket. (It's not the crocodile's fault!)

For more information about The Tallest Tree in the Forest at Arena Stage, click here! For more information about Peter and the Starcatcher at The Kennedy Center, click here!

Treat yourself to a night out at the theatre and enjoy!
 

I love Lucy!

Hi everyone,

You might remember that when I saw Rufus Wainwright at 9:30 club in February, his sister Lucy Wainwright Roche served as his opening act. At the end of her set, she told us all to mark our calendars to join her at The Kennedy Center on March 24, where she'd perform as part of the Millennium Stage series. So, I did.

Every day at 6 p.m., Millennium Stage offers free hour-long performances of all sorts of visual arts, from theatre and spoken word to dance and music. It's fantastic! The seats for Millennium Stage are first-come, first-served. I got there early and found one front and center.

The Pre-Show Entertainment
To my left sat a studious middle-aged groupie, who edited documents and wrote notes until the show started. I guessed she was a professor, but who knows? To my right was an ex-Mormon missionary, who had never seen Lucy Wainwright Roche before. (Doesn't this sound like the beginning of a joke?)

I kept to myself, writing in my journal while waiting for the show to start. The ex-Mormon instantly chatted away with the couple next to him, whom he had just met, because the husband in the pair was also an ex-Mormon! (What are the odds?) Among other things, they talked about where they've traveled and what they thought about The Book of Mormon. "I knew the South Park guys wrote it, but I didn't expect it to be so South Parky," the guy next to me said. (I will find out for myself when I see it in August!)

Behind us, two elderly friends were catching up when one of them got a phone call. I wasn't listening until I heard "run it under water" and "put some Neosporin on it." I began imagining 911 calls and ambulances. Someone is actually calling in the case of an emergency for once! But it couldn't have been too serious because she changed the subject, telling the person where she was and what she was doing: "We're seeing someone named Lucy Wainwright....No, no, but she's Rufus's sister." Right after the word "Wainwright," the professor whipped her head around. I felt her glare even though it wasn't aimed at me and knew what was coming: "It's Lucy Wainwright Roche."
"What?"
"Her name is Lucy Wainwright Roche."
"Oh, it's Lucy Wainwright Roche that we're seeing," the lady told the person on the phone. Her friend asked the professor if she were a member of the family. "No, I just know a lot about the family," she nodded and turned back around. She reminded me of 6-year-old Maisy's school principal in Uncle Buck! ("And, frankly, I don't think she takes a thing in her life or her career as a student seriously!")

The lady behind us got off the phone as the lights dimmed and explained to her friend, "My 44-year-old son has a splinter."

The Main Event

© Lucy Wainwright Roche

Lucy Wainwright Roche was just as delightful as the last time I saw her. I love how clearly she sings. I can understand all the lyrics, which is always appreciated. But I don't have to tell you about the show because you can watch the whole performance online here! (Thanks, Kennedy Center!)

So far, I've learned that Lucy Wainwright Roche is very chatty during her shows, which adds to the charm of it all, and I felt the urge to say lots to her by the time she finished this performance: "I saw you at 9:30 club, and you said to come here, so here I am, and I think you're great!" or "I have the same problem with my cat as you do with your dog. What should we do about it?" or "I went to school in Ohio too, but not the same one."

She stuck around afterward to sign CDs and t-shirts, faced by a big crowd. Since I couldn't decide what to say, I didn't bother waiting my turn. Instead, I bought her CDs to listen to at home. You should get them too! You'll miss out on all the talking I was surrounded by, but sometimes that's a good thing.

Enjoy!