Synetic Theater: Dracula

 Synetic Theater's re-staging of its premiere production of Dracula could not have been more seasonally appropriate.  And as I always do when reviewing one of their productions, I have to give a wee bit of background.  Synetic Theater was founded by the couple Paata and Irina Tsikerishvili.  Natives of the Euro-Asian border nation, Georgia, the ethos of this theatre troop is like none I've ever encountered anywhere else.  The productions are all based on classic literary works from Medieval Morality plays to Hans Christian Anderson, from Shakespeare to Peter Pan.  Because this form of theater was born at the crossroads of a hundred cultures, it never relies on the spoken word (or almost never), instead favoring a synthesis of sound, costume, simple sets and props, choreography, acrobatics, lighting, gestures, emotions.  The actors are always exceptionally physical.  I don't mean buff--although most are; I mean able to make their bodies do amazing things.

This production of Dracula epitomized all of these elements in a way that was more integrated than I've even come to expect.  Back to a previous statement, the unique thing about this production was that the actors also spoke dialogue.  I've never experienced this at a Synetic production.  I think this was because while Dracula is ubiquitous, the plot of the original novel is obscure and nuanced in it's complexity that simply could not be adequately told without dialogue.  Oddly, this aspect is the one complaint I have.  The actors weren't mic'ed.  Even though the theater space is not huge (average auditorium size), the actor playing Dracula let several of his lines drop.  And still, it is a amazing production.

Some examples of moments that just wowed me.  

1) Shout out to Jacob Thomas who played the barrister Jonathan.  He has a scene early one where he's mimicking riding a horse.  The actions are times with sound effects and billowing costume elements from his over coat and cape.  It was mesmerizing.  I thought he was floating in mid-air on the back of an invisible steed.  

2) There is a scene were Dracula's trio of satanic wives captures the innocent Mina in the night and carries her to their master.  (The show was very sensual by comparison to others, even came with a child disclaimer).  The actors playing the wives lift Mina, played by Nutsa Tediashvili, she placing her legs at the ankle on the shoulders of the one wife, and her neck with head extended on the shoulder of a second wife and then crosses the stage as if she is laying on a flat surface; stone stiff between the shoulders of the two women.  She appeared to maintain her rigid body against all laws of physics and human strength without any aids.  It was brief and yet breath-taking.  And perhaps there was a trick involved, but I couldn't see any mechanisms at all!  And...

3) In the climatic scene the actor playing Dracula, Dan Istrate, is under siege by a quintet of holy water handling, spiked silver cross bearing humans all intent on killing him in order to free Mina from his cursed blood bond.  As the actors spar and parry with their props and bodies a huge black fabric rises up between Dracula and his assailants.  The pitched battle continues, but the form of Dracula suddenly becomes spectre-like experienced only through the body fitted black fabric.  It was another jaw dropping example of the sort of magic that Synetic Theatre creates.

The sound a lighting always delight.  Costumes, by Kendra Rai were Steam Punk Sexy--loved them!

The show closes next Weekend.  It's well worth making room in your schedule for.

Dracula, [Dan Istrate], with his wives: [Maryam Najafzada, Irene Hamilton, and Anna Tsikurishvili].  At tonight's performance, Ariel Kraje understudied for Maryam Najafzada.  But I couldn't tell you which actor is which!

Dracula and Barrister Jonathan, [Jacob Thompson]

Holmwood, [Philip Fletcher], and Lucy, [Rachael Small], supporting characters.

Dracula "inoculating" Mina, [Nutsa Tediashivili], while his wives swoon.

Dinner: Grilled Mushroom Burger Patty, Shanghai Bok Choy & Onion with Fresh Ginger and Minced Garlic

 

Maryland Zoo - The Crane Barn

Built in 1919 to replace a structure that was built in 1883 and burn down in 1917, the Maryland Zoo Crane Barn is home to some of our large African Ground birds. The original building was erected to house a quartet of Dromedaries given to the zoo in 1883 by the King of Italy. Over time it was the home of various hoofstock (Zebu, Shetland Ponies, Zebra, Bactrian Camels) and Ostriches.

After just over 100 years, it has just undergone a complete renovation.  Looking beautiful.

Dinner: Meat Sauce Mix over Fini Linguine

 

Iron Crow Theatre: Mankind

Iron Crow Theatre in Baltimore is a small company. I consider 1st Stage in Tysons, VA a small company, and Constellation Theatre Company in DC a small company. But when you are a small theatre in Baltimore, you are smaller than in the DMV. Perhaps not by cubic footage, but by audience availability. The only theatre I've been to that is smaller is Metro Stage in Alexandria. And that's saying something. But fear not. I like small theatre troops. They are scrappy. They are innovative. They can even be fearless.

This trip to Iron Crow was over two years in the making.  Iron Crow is a company dedicated to produce queer theatre.  Presently I attend productions at three theatre companies in Baltimore, and going to see a show at Iron Crow was going to increase my exposure they're by 25%.  I had my ticket and I was looking forward to the adventure.  My ticker was for a show to staged in June of 2020... you see what happened.  So I converted the ticket to a gift, and like Constellation and 1st Stage made modest contributions during the down time in the hopes of helping these scrappy, innovative, and fearless theatres to survive.  Of all three, Iron Crow was the last to publish a season.  And I immediately bought a ticket.

A word about the theatre.  It occupies a later half of the nineteenth century building on Preston Street adjacent to the Baltimore Symphony Orchestra Hall.  The great advantage of this is that across the street is a public parking garage.  Parking in the city be it Baltimore, DC or Bethesda is an issue.  For example, Studio Theatre in DC has no parking and lies over 6 blocks from the nearest metro station requiring me to walk through neighborhoods that I less than comfortable in.  Ergo, I don't go to productions at this top notch, award winning theatre.

Now, a word about the play.  "Mankind" by Robert O'Hara is a futuristic allegory about a wide range of social ills and human foibles set in a time when all the "wo-men" have vanished from the earth.  Now, men have evolved to become pregnant, and abortion is completely illegal.  Enter a pair of "no strings attached" fuck buddies, Jason and Mark, and suddenly unexpectedly, Jason is pregnant.  From here the story takes on a range of complications, some familiar to woman who are now living in states with similiar views about abortion and others completely fantastical.  Seeking an abortion, the boys are convicted of attempted murder and sent to prison, until Jason gives birth to the first "wo-man" in over 100 years.  The child, only referred to as "Cry-Baby" is not long for the word and dies on live television during a Maury Povich sort of shock talk show.  The death of Cry-Baby uncovers and motives a fringe group of men who are secretly praying for a return of wo-men to the world.  Naxt thing you know, a new religion is born from the death of Cry-Baby and Jason and Mark are forced into leading it in order to remain free from prison.  

Okay, catch your breath!  I've only told you a half of it...but let half suffice.  The play unfolds like a crack addict on adderall.  At times frenetic and times semi-lucid.  There is audience participation that included a service at the temple to the feminism and goddess "She" where Cry-Baby takes on the Messiah role.  I was one half a dozen audience member given a copy of the liturgy and asked to sing along with call and response "Ah-wo-men"s.  (Not a play for those easily offended by mock blasphemy or devote conservative Lutherans--since the liturgy was basically lifted from them!)  Suffice it to say, it is a play with a lot of moving parts.

Now how does an actor approach a work like this?  Of the six men in the cast, there seemed to be a dichotomy.  Three seemed to try and hold on to a semblance of recognizable, what?...reality?  While the other half embraced the work with an over the top gusto.  Frankly, it was confusing at first.  But given the subject matter and the generally AD/HD pace of ideas being tossed out, in the end I sided with the over top contingency.  Everyone on stage was new to me.  I'll bet you, though, that at least two of the over-the-toppers are also successful drag performers.

So down to the nitty-gritty.  In the end, I appreciated all of the actors on the stage, and in turns, most of them had moments/character portrayals that annoyed me, too.  Therefore, I am going to highlight moments.  The reoccurring duo of "Bob & Bob" played by Nicholas Miles and Lucius Robinson were easily the over-the-top best performances--Bob & Bob being the talk show hosts.  David Forrer in the role of the Morality Judge Chamberlain also delivered solid, humorous and yet most biting monologues.  

The set was an all in one, curtain-less delight.  Kudos to Chuck Atwell.  For this production, there were no Press photos that I could find.

The building housing the theater.  The entrance is to the left and the theater space inhabits the third floor from the central window to the right.

The left edge is the frame of the window furthest to the right in the above photo.  You can see the proximity to the BSO Performance Hall.

Breakfast: Huevos con Atun

 

Autumn Alligators

 

Constellation Theatre Company: Once On This Island

 

Once On This Island sounds like the beginning of a fairy tale, doesn't it?  And it sort of is.  The story is told by various guests at a party that is interrupted by a big storm when the lights go out.  They tell the story to a little girl who is frightened by the wind and rain.  And in telling the story, they become characters in the story, even as the little girl becomes the protagonist of the tale.

It's a lovely story full of island gods and twists of fate and an ending that is full of grace.  It certainly helps if you can set aside the classism, misogyny, and racism--so perhaps it isn't a lovely tale, but a tale told in a lovely way.  For in the end our protagonist, Ti Moune, cannot, even with the help of gods both good and evil, overcome the classism, misogyny and racism that denies her a life with her true love.  Yet, she is able to transform herself into a mighty tree that will always stand guard over him and his children.

The sets were beautiful and well integrated into the light design so as to be one supporting presence--together, a work of art. Kudos to Jessica Alexandra Cancino (sets) and Peter Leibold VI (lighting).  The space is as intimate as your basement...though slightly larger, I'm sure.  The theater occupies the hollowed out store front of a building (shotgun) that I'm guessing is well over 100 years old.  There is a set of walls between the lobby and the staging area with two restrooms, one on either side of the doorway to the inner area.  Because the interior is not a fixed structure in any way, the "stage" can be created to fill up the rear of the space or run along one of the sides with the seating arranged to accommodate the stage.  I've been to productions with either set up, and it's always a bit of surprise wondering what's it going to be this time.

I had a seat in the second row on the aisle and the seats were arranged on risers so that the person sitting in front of me was far enough below me not to create the slightest possibility of restricting my view.  The actor's being on the same level as the first row, their actions came within inches of the audience, and a couple of times if I stood up and reached out, and the actor in front of me had done the same, I am certain we could have touched fingers over the head of the lady in the first row!  In fact, at one point she got up and switched seats because I think the proximity made her feel uncomfortable.

The cast is made up of 11 actors, 5 men and 6 women.  One of the woman plays the child Ti Moune, and another plays the adult Ti Moune, and these are the only fix role parts in the show.  The remaining 9 actors each inhabit 1 major character and then they also play a variety of ensembles roles from party guests to city folk, to villagers, et. al.  Of the actors themselves, they represented a wide range of body types and skin tones and apparent athleticism making for a wonderful kaleidoscope of ensemble groupings and the choreography was strong for such a small area to move in.  Hat tip to Maurice Johnson the choreographer (who btw got is training and degree in Lexington, Kentucky.  One of my old stomping grounds.  Small world).

With so many talented and visually interesting actors to follow, it's hard to see any one player stand out.  So let me elevate three.  Kalen Robinson as the adult Ti Moune.  Clearly the first among the many.  She has a wonderful stage presence and just a beauty in this role that allowed her to be both vulnerable and powerful as the character evolved.  She also has the most powerful voice of the ensemble, and herein lies perhaps my only complaint, if even complaint is too strong a word.  At times she used the power of her instrument to sing as if she were in Carnegie Hall reaching for the nosebleed section.  And honestly, it was just too much.  Fortunately, it wasn't so much of her singing that it became an obstacle to my enjoying the production.  She certainly proved that she didn't have to sing that way to enthrall with her voice.  I chalked it up to poor vocal direction from whomever was coaching the singing.

Contrast that with the work of Edima Essien who's principle non-ensemble role was that of Asaka, one of the four gods; the god of life.  Her acting was wonderful and so was her singing.  Perhaps it was the positioning of her songs in relation to those of Kalen that made the wisdom of her choices stand out in my mind. 

The third actor I want to highlight played one of the other gods, Papa Ge, the god of death.  Carl L. Williams brought the "it" factor to his portrayal.  When playing Papa Ge, he seemed to relish the role of soul-stealer, keeper of the key to oblivion.  It was delicious.  In reading the actors bio's, he was the only member of the cast to have also held major supporting and lead roles in Broadway touring companies (Harpo in the Color Purple, Ziggy in Bob Marley's Three Little Birds, and Pigeon for goodness sake in Don't Let The Pigeon Drive The Bus).  I'm sure that he got those roles as a result of his presence, and he probably hones that presence as a benefit.  The program also stated that he was in the Constellation Theatre Company's production of Urinetown.  I saw that production (September 2016), and he didn't have a set role in it, so I'm assuming at that point he was an understudy.  That being said, his understudy days are over.

Another wonderful event at a DMV theater.

Asaka (Edima Essien), god of life giving advice to Ti Moune (Kalen Robinson)

Ti Moune with her ill-fated lover Daniel (Emmanuel Elliot Key)

Member of the cast in an ensemble number, L-R: Bianca Lipford, Edima Essien, Emmanuel Elliot Key, Theodore Sapp (behind E. E. Key), Sydney Johnson, and Carl L. Williams

Baltimore Museum of Art: Salman Toor: No Ordinary Love

Salman Toor is the other special exhibition at the BMA that I wanted to see. Toor was born in Lahore, Pakistan in 1983. As a gay man, he didn't exactly find a ready audience for his ideas, let alone his art. The thing that I love about this particular exhibit is its immediacy. The artist painted several works specifically for this exhibition based on painting in the BMA's collection of 17th through 19th century European Art. In do so, Toor's intention is to turn the tables on the subject matter and create an alternate perspective on the composition that is not simply not European, but particularly South Asian and Queer. Now don't over-read into this. None of his work is particularly erotic, and if you think it is, then may respectfully suggest that this is a topic for you to discuss with your therapist! Yet, it is certain sexuality positive. And, yes, there is a difference.

A nice collection of his work can be found in a trio of galleries between the Cohen Sisters collection of post-impressionist masters and the contemporary art wing. Others that were painted specifically for the exhibition hang throughout the 17th-19th century European Art galleries in the company of the works they inspired.

One of the delightful things about the exhibition was the number of visitors, young folks mostly, of South Central Asian heritage.  Under-riding conversations was a palpable joy, a shared sense of pride in having Toor's works featured in this way.  In some cases they as much as said so to one another.  It was a good feeling.

Now, what struck me most about his work was the plethora of ways his work felt derivative of other artists.  Lots of other artists for all manner of diverse reasons.  I found myself seeing clear comparisons between his paintings and those of Vincent Van Gogh, Pierre Bonnard, Edward Hopper, Philip Guston, Charles Burchfield, and George Bellows!  Now, I grant you that part of what Toor does is appropriate ideas, but I was overwhelmed by these connections even before I read the blurb about his process, inspirations and intentions.  

It's a very interesting show, and it only has two weeks left before it ends.

Dad and Son, 2020

This painting is evocative of so much!  The Madonna and Child motif rife in European art for centuries.  And such an air of tenderness, it's striking.  When examining the use of 'tally marks" to create depth and movement coupled with the compassionate treatment of the subject, I was immediately reminded of Van Gogh's early painting, especially the ones of the potato pickers.  

Back Lawn, 2021

The accompanying text associated the inspiration for this work to a painting by the Indian Mughal artists  (circa 1730 - 1750).  The painting is titled, "Krishna and the Gopis Play Hide-and-Seek".  Further the architecture of the building is based on the artist's childhood home.  In the Mughal tradition, garden scenes are common, and the inclusion of lover who are meeting clandestinely to frolic among the greenery is common.  

Now while this makes sense, for whatever reason, I was also taken to Edward Hopper's masterwork in the Chicago Art Institute "Nighthawk's Date".  The night scene was an illuminated "inner" area and the suggestion of a clandestine rendezvous.  

The Women, 2021

What strikes me about this painting is the title.  Clearly there are three women lounging on the bed.  A cursory glance might suggest that a young girls is standing before the dresser with its objects of feminine make-up averting her eyes from the mirror.  But look closer.  I don't think it's a girl at all.  I think it's a boy.

Cemetery with Dog, 2022

I defy you not to see the hidden language of sound in this work that is the hallmark of works by the artist Charles Burchfield.  Period. 

Pillow Fight, 2022

Baltimore Museum of Art: Oletha DeVane

There is an alcove in the upstairs facade off of the Levys' Foyer at the Baltimore Museum of Art that hosts a rotation of sculptural works. Oletha DeVane's obelisk sculpture "Saint for My City" resides there for now. It is meant as an homage to gun violence and its victims in Baltimore.

Baltimore Museum of Art: Elle Perez Exhibition

Rather than try to do this art justice with just my own words, allow me to use the words from the BMA website, as well.

Elle Perez is a Brooklyn based artist who was born in 1989.  She uses the medium of photography to elevate the mean of intimacy, vulnerability, and the communion between these that all people share.  From the BMA website:

The exhibit includes "13 photographs created between 2019 and 2021.  "Devotion: explores relationship building, creating space to reflect on how we navigate ourselves in relation to others and the world.  Perez's carefully sequenced images dwell in moments of grief and care, pain and pleasure, desire and self-exploration.  Amidst recurring motifs of water, touch, and BDSM are also striking choices in proximity, scale, color and light."

You can find the works in the John Waters Foyer and adjoining galleries on either side.  The images are monumental in size, and atypical choice for most photographs.  And yet, they couldn't be presented any other way.  

"t" 2019

"Hold," 2020

"Ash," 2020

The curiosity of the title was not lost on me.

In the premiere placement in both of the side galleries were these images of a diptych.  

"Tomashi and Ally II," 2021

"Tomashi and Ally I," 2021

"animal," 2019

Baltimore Museum of Art: The Antioch Mosaics

One of those seminal components of the collection of art at the Baltimore Museum of Art are the Antioch Mosaics. These are sections and fragments of the vast collection of floor mosaics excavated in the ancient city of Antioch in present day Turkey. The expedition to uncover and preserve these amazing works of art was undertaken between 1932 and 1939. The funding came from a joint effort of 5 museums and universities in the United States. Over 300 mosaics were unearthed, with half of them remaining in Turkey and the rest divided between the 5 U.S. institutions.

The next time to travel to Turkey you can see the majority of these at the Hatay Archaeological Museum in Antakya. The see the rest, you would need to plan a road trip. The itinerary would include: Harvard University, The Boston Museum of Fine Art, The Worcester Museum of Art (Massachusetts), Princeton University and the Baltimore Museum of Art. Many years ago, I had friend who was the curator of the collection at the Worcester Museum in Worcester, Massachusetts. During a visit, she invited me into the bowels of the museum and shared with me the current mosaic that she was working on. With very clean hands, she even allowed me to run my fingers over its rough surface. To touch the surface that once adorned the floor of a room in a wealthy Roman's home. Where plebe and slave walked, and spilled food and fell upon. Where children played games and babies drooled. Floors get a lot of action.

Anyways, no visit to the BMA is complete without time spent marveling at these masterpieces of the Classic world.

Baltimore Museum of Art: The Asian Collection

The Baltimore Museum of Art is an absolutely lovely gem. An eclectic collection with some amazing highlights and a real discourse with the community and contemporary artists. Every time I go there are old friends to see again, and always new acquaintances to make. Because I go a couple of times a year, I no longer try to see it all. Instead I try to choose something I've not spent a great deal of time with before and look for the new things and the current temporary exhibitions.

On the ground floor just off of the lobby are a series of galleries and a wide hallway dedicated to the range of ethnographic objects arranged by broad regions and cultural topics like Oceania, East Asia, Africa, Islam, Indian sub-continent. Today I made time at the start of my visit to explore the two galleries filled with East Asian art of China, Korea and Japan.

Water-Moon Guanyin, 15th century, Ming Dynasty (1336-1644 CE)

The story of Guanyin is that she was a disciple of the Buddha Amitabha and through his teachings attained enlightenment, but chose not to enter into the state of nirvana.  Instead she remained among the living to relieve the suffering of other creatures.  She was able to assume many forms.  The Water-Moon Guanyin is one where she often sits at the edge of a pond or stream at night contemplating the ephemeral nature of the moon's reflection on the water.  This sculpture is bronze, though originally was gilded with gold.

Mortuary Retinue, late 6th-early 7th century,

Sui (581-618 CE) or Tang (618-907 CE) Dynasty

Soul Urn Decorated with Seated Buddha Figures, late 3rd century

Western Jin Dynasty (265-317 CE)

Gandharan Head of Buddha, 4th-5th century

probably Hadda, Afghanistan

With the exact provenance uncertain, this is still utterly remarkable.  It's at least, 1,500 year old, and it's not made of marble or granite, or even sandstone--it's stucco!  Think plaster.

Three works: Birds in a Coop, Dog in a Yard, and Pig in a Pen, 4th Century

Eastern Jin Dynasty (317-420)

These items were all created to be included in tombs of the wealthy.  And while they may represent farm and domestic animals that would bring the departed comfort and prosperity, they are may have been symbols representing the year of the deceased's birth from the zodiac years of the: Rooster, Dog and Pig.

Tower Surrounded by a Moat, 1st-2nd century

Eastern Han Dynasty (25-220 CE)

What an exquisite piece for being nearly 2,000 years old!  The details and care it must have taken to fire it in a kiln.  More than a festive outing of an Emperor or Lord with his hunting party, this object is rife with hidden symbolism.  China 中国 (Zhong - Guo) is a combination of the symbols for "Middle" and "Land," the place the people of China have believe they hold within the larger scheme of the world. The structure represents a mountain that rises out of water. The humans reside on a platform; higher than the natural world below, but lower than the tile roof with it's doves representing the heavens. The archers stand ready at the four corners (East, West, North and South) to defend their lord.

One of the archers.

Dogs chase rabbits and geese around the rim of the bowl, while figures of swans, cranes and fish inhabit the now dry basin.

Sake Bottle, 19th century,

Possibly Niigata Prefecture, Japan

I was captivated by the whimsical image of the sailing ship and ocean waves.

Glass Bowl, 2004

Do Ho Suh, 1962 - (South Korean)

I think this was the most contemporary of the pieces in these galleries.  I don't know how well the image depicts the bottom of the bowl.  The rough area is the imprint of two human hands pressed together in the manner of the State Farm insurance logo.