The Phillips Collection: Alphonse Mucha

 Ran over to the Phillips Collection in the DuPont Circle neighborhood of DC this morning to take in their exhibition on the work of Czech Artist, Alphonse Mucha.  Somewhere between Gustave Dore and Maxfield Parrish, I met and fell in love with the works of Mucha during my teen years.  Stylized, sexy, the epitome of Art Deco.  What's not to love?

The works at the Phillips Collection not only show off dozens of his famous Mucha "women" prints, but sketches, publication works and illustrations, and even a couple oil paintings.  The work beyond the iconic posters is what really demonstrates his deeper genius.  What a lovely show.  My only complaint was the extremely dim lighting.  No doubt to protect the images from fading.

Finally, the exhibition also continued a pair of galleries full of antecedent works by near contemporaries all the way up to a present day album covers and comic books.  All in all a joyful way to spend a couple of hours on a Thursday morning in the nation's capital.  

An image of Alphonse Mucha (1860 - 1939)

Let's begin with the thing that he is most known for: those beautiful, sanguine, at times seductive young women.  He used their images in advertisements, in magazine covers, and in a range of series that covered everything from the four seasons, to birth stones, to wildflowers, to the muses of the arts.  They were essentially his bread and butter.  He established a language of form and movement, or balance and emotion that was all his own.  It was envied.  It was copied.  However, it was never matched.  I include 4 examples from the show.  One comes with a rough draft.  And then there is an interesting example of work without the iconic beauty front and center stage.

"The Flowers: Lily," 1897

Color Lithograph

This is one of four created for this particular series.

"Heather," 1902

Color Lithograph

An example of a woman depicted in a more modest pose and attire.

"The Arts: Painting," 1898

Color Lithograph

Sketch for the Composition: Monaco ~ Monte Carlo, 1897

Pencil on Paper

"Monaco ~ Monte Carlo," 1897

Color Lithograph

Plate from "Le Pater: Amen," 1899

Color Lithograph

Generally, the walls were painting in dark shades of green, maroon, and aubergine which when coupled with the subdued lighting really forced guests to step up close to the works in order to give them a proper viewing.

Next, I have chosen some images that were sketches.  I just love when an exhibition takes you beyond the finished works and gives you a glimpse into the artist's process.

Final drawing for Plate 7, Figures Decorative, 1894

Pencil and wash on paper

Ballet Studies, circa 1901

Pencil on Paper

I am struck by just how expressive each tiny figure is with little more than a few carefully executed pencil marks.  Each is very much like a little flower; something he nearly always found a way of including in his Lithographs.

Sketch of a Paperboy, 1891

Pencil on paper

Caricature Drawings, 1882

Ink on Paper

You can't tell from this image, but these are tiny.  The largest among them is barely the size of a small-handed man's fingerprint.  And still the care taken to every detail.  The way each embodies their personality; seems to be begging to tell their own story.  Exquisite!

A pair of large lithographs framed the exit in the second portion of the main gallery.  One was of Hamlet, the other was Lorenzaccio, a character from a play of the same name written by Alfred de Musset.  But both also depict in the lead roles the Actor Sarah Bernhardt!  Fearless in her willingness to cross gender lines in seeking out a challenging performance, she first played Hamlet at the age of 55!  And Mucha was obsessed with her androgyny.  She is often referred to as "his muse."  

"Hamlet," 1899

Color Lithograph

"Lorenzaccio," 1896

Color Lithograph

"Lorenzaccio," Detail.  Bernhardt was 52 when she tackled this role.

I will end the works of Alphonse Mucha with two of his paintings.

"Mucha (Self-Portrait) Sketching in His Munich Apartment," circa 1886

Oil on Canvas

"Still Life with Moravian Folk Crafts Featuring Floral Patterns," circa 1920's

Oil on Canvas

Have you ever seen a more enchanting Still Life?

Round House Theatre: Bad Books

 "Bad Books" is a new play by Sharon Rothstein.  Its presentation at Round House Theatre is part of a "National New Play Network Rolling World Premiere".  Based on its title, you can tell that it's about banning books at a public library, and honestly, we are living this reality.  I had to ask myself, do I really want to go and see a play about it?  But then the cast was announced: Holly Twyford and Kate Eastward Norris.  If that sounds even a wee bit familiar, let me take you back to the autumn when this same dynamic duo started in a production of the play "Summer 1976".  I so adore them, that I was willing to pay more than I usually do and walk the 8 1/2 blocks from and to the nearest Metro station to see it at Studio Theatre.  

So my desire to go was not about the subject matter.  It was to see these two incredible actors perform together again.  And the Metro Station here is just a block away from the theatre!

What I didn't know was that the play itself is amazing.  One of the best new works of the American Theatre I've ever seen.  It was in turns burst out laughingly funny, angst inducingly cruel, and heart rendingly tragic.  There was banality, there was karma, there was even a splash of redemption.  Ideas, phrases, props were woven in and out of each sense like a finely constructed tapestry.  What it wasn't was what I feared it might be: trite. 

In it, Holly played the aggrieved single mother who took out all of her fears about her son on the Librarian.  Kate was the "rock 'em - sock 'em" librarian whose passion and integrity just made you want to stand up and shout, "YES!  Goddammit, YES!"  She was also the Manager at the Mother's office.  And the sweet mother of the Mother's son's girlfriend.  This is the genius of Kate Eastwood Norris, while I know she just fiddled with her hair, donned a different jacket or sweater, wore glasses, didn't wear glasses, whatever...what she actually did was become an entirely different person, with a different underlying affect that was palpable and astonishing.  

And here's where the power of the playwright also shines.  Each character is given a distinctive voice.  I can only imagine how delicious it was for Kate to transform from one to another.  

To frame this amazing play, Round House pulled out all the stops.  Just a couple of years ago, it shutdown production for a season so that its theater space could receive a multi-million dollar over hall.  The changes were deeply structural giving the Round House much more flexibility with its space.  How that manifested itself in "Bad Books" was the construction of an entirely new stage area over what had at least four rows of seating within its normal configuration and then the addition of four rows of seating at the same level with the remaining house seats on what would otherwise be the stage to create a theatre-in-the-round experience.  As I sat there, I just marveled at the degree of precision required to pull this off.  I was thinking how proud the producers and the Managing and Artistic Directors and the Board of Directs must be at seeing their renovation in fruition.  

Which is the perfect lead-in to a celebration of the Set Design.  Meghan Raham's vision was stunning.  Its simplicity felt like a perfectly polished orb.  The new stage was built as a square, but filling the square was a circle that gently rotated throughout the entire play.  The audience was in perpetual motion like people circling a fishbowl and watching as they performed some mysterious dance.  The fact that in one scene an actual fishbowl played a pivotal role in the action only contributed to the metaphor writ large.  This is what I call brilliant.

The view from my seat: section C #205

Kate Eastwood Norris as "The Librarian" and Holly Twyford as "The Mother"

Kate as "The Manager"

The shoe is decidedly on the other foot.

Signature Theatre: In The Heights

 Before "Hamilton," there was "In The Heights"; a joyful, exuberant celebration of community also written by Lin-Manuel Miranda.  Washington Heights from a certain time comes to life at a certain moment in which its inhabitants are arriving at a pivotal juncture in their lives.  Some are coming together.  Others breaking apart.  The tension is palpable, and the way uncertain, until a sudden blackout miraculously brings light and clarity to everyone's path.   That and the death of everyone's beloved matriarch.  

It's a show full of funny and sweet characters who's flaws come to be seen as endearing.  It's a love letter to a people: Dominican, Cuban, Honduran, Mexican, a little west African, too.  And it is most certainly a celebration of dance!  

Upon opening the program, I first noticed that three of the characters would be portrayed by understudies.  This initially felt a little disappointing, but then I reminded myself that sometimes understudies bring a heightened joy and earnestness at being able to finally play with their friends.  The fact that two of the MIA cast members had relatively small parts also lessened any potentially negative impacts--and how would I really know, anyways?  It's not like I'm going to go back and see it again with the principles in performance.

Of the cast I really only recognized one member, Rayanne Gonzales who was played Abuela Claudia.  A magnificent voice, she nearly brought the house down with her rendition of "Paciencia y Fe".  A steady presence in any ensemble.  Among the others were many wonderful surprises.  Chief among which were the Bodega duo of Sonny (Nicolas Garza) and Usnavi (Angel Lozada).  Both actors brought a boyish sincerity and excitement to their roles and the chemistry together made all their scenes a joy to watch.  Another stand out was Benny, played by Chibueze Ihuoma.  His voice was both tender and powerful.  Benny is the black boyfriend of the only child of a prominent Dominican business owner in the heights, and to complicate his story, he also works for her father.  Like so many of the scenarios in the show, grace wins the day in the end, but along the way, Ihuoma, is featured in some of the most beautiful songs in the show, including, "When You're Home," and "Sunrise."  The final standout has got to be Adriana Scalise as Vanessa.  She was the very definition of the "triple threat": Acting, Singing and Dancing.  

The set was an asymmetrical geometric platform running diagonally across the space with the audience on both sides in a very intimate proximity.  Kudos to Andrew R. Cohen for creating an eclectic space for an eclectic production.  And in a rare acknowledgement from me hats-off to Shani Talmor for such exciting choreography, and Associate Choreographer and Dance Captain, Matt Rivera who exemplified the final product as a member of the ensemble.

Such a feel good show celebrating diversity, equity and inclusion.  Bravo!

Principle Cast: Selected members [L-R] Nichole Forde (understudied for Graffiti Pete), Jose J. Munoz (ensemble - maroon vest), Rudy Martinez (Kevin - blue shirt), Crissy Guerrero (Camila), [standing in back] Berto Fernandez (Parigua man), Rayanne Gonzales (Abuela Claudia), Angel Lozada (Usnavi - green shirt) [skipping over], Chibueze Ihuoma (Benny - second maroon vest), Adriana Scalice (Vanessa - hand on hip), Matt Rivera (ensemble & dance captain), Karmine Alers (did not perform, replaced by understudy), and Carianmax Benitez (Carla)

Usnavi, Vanessa and Sonny (Nicolas Garza)

Sonny, Usnavi, Graffiti Pete (Michael Marrero - did not perform, replaced by understudy), and Benny

Sonny checking out Vanessa and Usnavi making a connection.

Abuela Claudia

Performing "Carnaval del Barrio"

Benny and Nina (Victoria Gomez - did not perform, replaced by understudy)

Baltimore Center Stage: Akeelah and the Bee

 Akeelah and the Bee was written by Cheryl L. West and has been around for a while.  It was also made into a successful movie--and why not?  It is the ultimate feel good story of a little girl who comes from difficult circumstances, defies the odds, defeats her inner demons, redeems her family and teaches a life lesson to one of her peers; as icing on the cake.  Heart-warmed tears--no extra charge.  It was even more lovely that the "Children" in the production, from Akeelah to ensemble, are all from the Freshman class of students at the Baltimore School for the Arts.  There's a lot of amazing talent bubbling its way up in Baltimore.

As a whole the students brought an adolescent exuberance and authenticity to their performances that was engaging.  The perfect counter balance was found in the performances of some of the adult actors.  Most notably Jefferson A. Russell in the role of Dr. Joshua Larabee, the somewhat enigmatic former National Spelling Bee "runner-up" with a satchel of secrets and soul in need of a little redemption.  Also very enjoyable were the duo of Dwayne Alistair Thomas as Drunk Willie (he also played Principal Welch) and Tracy "Symphony" Hall as Batty Ruth the neighborhood gossip and Willie's estranged wife.  One other shout out must go to Quincy Vics who primarily played the strung out neighborhood drug dealer, JT, but also double briefly as the local city Spelling Bee Judge and brought the house down with his performance.  

Listening to all of this you might assume I had a great time.  And I'm not gonna say that I didn't enjoy or appreciate the show--I did.  However, as fate would have it, this performance was also sponsored by the Baltimore Youth Innovation Coalition.  An organization just over a year old that works as an umbrella to support over 30 youth engagement clubs all across the greater Baltimore municipality.  Everything from "Black Girls Cook" (combining culinary practices with healthy nutrition) to "Let's Go" elementary after school enrichment programs focused on STEM (Science Technology Engineering and Mathmatics) to CITCA an organization that works with at-risk youth to meet social emotional needs and promote welfare through collective action.  Let's face it, it's all great stuff, and yet, during a little pep rally before the show started it was clear that unaffiliated adults in the audience were in the minority.  Furthermore, through a show of hands nearly everyone participating in this event by way of the Coalition were first time theater goers.  Sigh.

Baltimore Center Stage's Artistic Director, Stevie Walker-Webb, was there to welcome and celebrate the Coalition's participation.  He invited all the audience to join in with the fun of the place and be expressive, but also to be reflective during the times when the story becomes serious.  He lost them at "expressive"...

For me, it wasn't horrible at first, but it was a dual event.  One, The Play, with the actors--the younger members clearly ramping it up for the delight of the young audience; and Two, The Spectacle--that give and take between the story and an audience full of folk (wee and old) without any obligation to conventional boundaries.  This was most obvious after intermission, when the first hour and 15 minutes had pretty much exhausted the attention spans of most of the children and many of the sponsors alike.  

As a result, during the most serious moments (a drive by shooting that forced Akeelah's mother to throw her to the floor and shield her with her own body) many members of the audience roared with laughter.  On a more specific to me level, the adult sponsor/chaperone for the group sitting directly behind me brought her un-potty-trained daughter who made "ca ca" 15 minutes into the second half and then proceeded to sing little nursery songs apropos of nothing whatsoever happening on the stage for a good 15 minutes.  To be fair it wasn't everybody.  There were 8 young children sitting in the row directly in front of me who were probably 7 or 8 years old.  To a child they were engaged, on the edge of their seats nearly the entire time.  

Let me make this perfectly clear.  I LOVE THE IDEA OF BRINGING ALL OF THESE CHILDREN AND YOUTH INTO THE THEATER.  But I think it was unfair of Baltimore Center Stage to do this and not advertise it to the general public.  Especially when they list "Community Night," "Greek Night," "Family Reunion Night," ASL dedicated performance, AD/TT dedicated performance, and something called the "Chocolate Curlz Cabaret @ Blk Ass Flea Market" as a related event.  And, yes, I did write them with my thoughts on this.  It's not only not right, it's not a good economic strategy for someone who is paying full price to not know what that admission includes prior to making the purchase.  As I wrote in my comment.  Knowing this doesn't mean that I would not come to see the show, it just means I would have chosen another date.

Akeelah (Natalya Benton) and Reggie (Theodore Sherron III) her older brother after she awakes from a nightmare.

Akeelah and her principal, Mr Welch (Dwayne Alistair Thomas) as he is trying to convince her to participate in the spelling bee.

Akeelah's mother, Gail Anderson (Zipporah Brown Gladden) in conversation with her daughter.

Akeelah and her spelling bee mentor, Dr. Larabee (Jefferson A. Russell) discussing strategies and avoiding personal things.

Dylan Chiu (Braxton Singhanath) Akeelah's arch rival in the competition.  Background: Baltimore School for the Arts freshman member of the ensemble (David Rittner)

Akeelah and Dylan playing Scrabble at a friends birthday party.

May I Predict a Shellacking?

 I apologize in advance.  This may be a bit long-winded.  

FACT: Donald Trump won the 2024 Presidential Election with a total of 77,302,580 votes.  This gave him 49.8% of all votes cast, leaving Harris with 48.3% or 75,017,613 votes.  When you break this down around the total number of eligible voters in the country, it gives both candidates percentages of just over and just under 30% respectively.  The reality is that Donald Trump was elected by 30.1% of the eligible voting public.  That's hardly a mandate, and it's certainly NOT a majority of Americans.  

I'm NOT suggesting that his election is in any way illegitimate.  He IS our president.  However, his agenda is a MINORITY agenda.  And like any majority agenda, the pendulum will swing. 

 
We have some really good evidence of this just 3 months into Trump's second term.  1) a landslide victory of a liberal justice in Wisconsin, whose opponent went out of their way to be the voice and face of President Trump in the Race.  2) Two house seats in deeply Republican districts in Florida where in November Republican candidates won with 30% and 31% margins, are retained; however the margins were slightly more than cut in half at 14.6% and 14% respectively.  And 3), Trumps choice for Ambassador to the United Nations, New York Representative Elisa Stefanik withdrawals her nomination because a replacement election is deemed too risky now, with only a 3 seat margin for Republican in the House of Representatives.  Stefanie won her seat with a margin of 25%.  

Everyone who thinks that Elise fell on her own sword, please, raise your hand...  Exactly.  

Would it surprise you to know that there are 76 seats held by Republicans in the House of Representatives where the margin of victory is less than 24%?  Here's one better, more realistic; there are 36 with margins of 14.6% or less?  These are the golden seats.  All the Democrats will need in November of 2026 is 4! 

 
Now, every state is different, and 19 months is a long time.  However, everything we can see and say of this administration is that it will be 19 months of discrimination, inflation and alienation.  They've already shut the doors of equality to Gays, African Americans, Muslims, Hispanics, Government workers, all of those who depend on Government support, and a trade war that will have devastating effects on small business owners, farmers, and skyrocketing inflation that will effect EVERYONE.  For every newscast that features a faithful Trumper, there's another with someone admitted to buyer's remorse.  

Seats likely to switch:

STATE - SEAT - Margin of Republican victory in 2024

ALASKA - At Large - 2.0%
ARIZONA - 1 - 3.8%

ARIZONA - 2 - 9.0%

CALIFORNIA - 3 - 10.0%

CALIFORNIA - 22 - 6.8%

CALIFORNIA - 41 - 3.4%

COLORADO - 3 - 5.0%

COLORADO - 4 - 11.6%

COLORADO - 5 - 12.8%

COLORADO - 8 - 0.8%

FLORIDA - 7 - 13.0%

FLORIDA - 13 - 9.6%

FLORIDA - 15 - 12.4%

IOWA - 1 - 0.2%

IOWA - 3 - 3.8%

MICHIGAN - 4 - 11.7%

MICHIGAN - 10 - 6.1%

MONTANA - 1 - 7.7%

NEBRASKA - 2 - 1.8%

NEVADA - 2 - 10%

NEW JERSEY - 7 - 5.4%

NEW YORK - 1 - 10.4%

NEW YORK - 17 - 6.4%

NEW YORK - 19 - 2.2%

NORTH CAROLINA - 11 - 13.6%

OHIO - 15 - 13.0%

PENNSYLVANIA - 1 - 12.8%

PENNSYLVANIA - 7 - 1.0%

PENNSYLVANIA - 8 - 1.6%

PENNSYLVANIA - 10 - 1.2%

TEXAS - 15 - 14.2%

VIRGINIA - 1 - 12.8%
VIRGINIA - 2 - 3.8%

WISCONSIN - 2 NEW SEATS

I know you pessimists are saying, it'll never happen.  The sky is just going to continue falling...  Look at the last one.  Wisconsin is about to redraw its congregational districts in a way that will all but guarantee two seats will flip.  In a contest with a margin of 1 seat, there are more likely possibilities than there are ways to screw them up.  With the chaos created by both government employees and military cuts AND an unpopular Republican governor in Virginia, I would bet both of these seats will flip.  If the races just completed in Florida indicate the amount of disillusion in the sunshine state, then there are 3 more seats.  And on and on it goes.  This also bodes well for the Senate.  More thoughts on that to come.  

My 2 cents: Wisconsin's State Supreme Court Election

Full Disclosure: I'm a registered Democrat.  In my state, you have to be to make a difference in the outcome of any election.  I consider myself both a progressive and a liberal; however, I believe in fiscal accountability, and on a local level rail against higher taxes for stupid shit like hiring a Chaplin for our city's Police and Fire departments.  I'm sorry.  If you need spiritual support, join a church, synagogue or temple.  It's not like you could throw a stone and hit one of them around here!  My first time out of the box, I voted for Ronald Reagan, and do not regret it.  Different times, different issues.  

What we have presently in charge is a true Shit Show.  The most corrupt President ever calling everyone else corrupt like a child on an elementary school playground.  Hell, he doesn't even understand how tariffs work, but he soon will...

The tides always turn.  The more crazy the individual, the sooner the shift happens.  Yesterday's Wisconsin State Supreme Court victory for the liberal judge by a landslide margin of 10% coupled with the GOP's pulling the plug on the nomination of House Leadership Member Elise Stefanik of upstate New York to be our Ambassador to the United Nations because they are too worried about holding that seat is very telling.

Stefanik won her seat just 5 months ago with a 24.2% margin--amazing.  And now it's too vulnerable to risk a special election over?  

Maryland Zoo: Highlight #5 -- "I'm Ready For My Close-up" a Visit to the Farm Yard

 Maryland Zoo has, like so many other zoos, a farm area.  It once won awards back in the early 1990's.  It's home to various species of: goats, sheep, alpaca, pigs, donkeys and swans.  Two of our signature conservation animals are our Trumpeter Swans (we've contributed dozens of offspring to wild restoration efforts in Iowa and Oregon.  And our Kune Kune pigs, ambassadors of the endangered species native to New Zealand.  There is also a small group of miniature Texas Long-horn Cattle that you can only hope to get a look at if you ride the zoo train.

I have big dreams for this area.  I would love to keep most of the current incumbents, but rechristened the space: "The World Farm @ the Maryland Zoo" With an emphasis on endangered domestic species.

1) I would replace the current pig/sheep house with a new duo of structures that would reflect a fusion of New Zealand and Southern Steppe architecture.  I would keep the Kune Kune pigs and replace the Cotswold Sheep with Karakul Sheep.  The renovation would include an expansive yard behind the building to allow for at least 6 animals: (1 Ram and 5 Ewes), and plans to sell offspring to private breeders to off-set the cost of caring for the herd.

2) Expanded Alpaca and Goat yards

3) Maintain the current Mediterranean Miniature Donkey and Trumpeter Swan habitats.

4) North of the Goat Yard, build a new barn in the white-washed Gaelic style and host a small group of Highland Cattle.

5) Across the path from the new cattle barn I would create a paddock for horses.  The barn could be centered between two sets of pens and include two species: a) Assateague Island Ponies, and possibly Galeciños.

6) Transform the little orchard that is there now into a habitat from Running Ducks from India.  This would include a sizable pond and duck house built in the style of a rural Indian animal house.  Further, I would design a lattice over part of the pond and train cucumbers to climb it and provide a canopy for summer shade, while allowing guests to see how the fruit grows off the ground and dangles so it can be easily harvested by someone in a little boat.  (An ingenious practice I encountered while traveling in China.)  You could also place the Peafowl in this habitat.

7) On the northern edge of all of this clear out a space to include a Rabbitarium--the first structure dedicated to the preservation of endangered Rabbit species in any AZA institution.  A breeding program could also contribute to the zoo's income.  The building would be an octogon with entrances on opposite sides and three exterior spaces on opposite sides of these with three interior spaces to match.  The Idea would be to celebrate European Breeds with perhaps the following endangered and critically endangered species present: Belgian Hare (Belgium), Blanc de Hotot and Creme d'Argent (France), Silver Martin (England), Gotland Rabbit (Sweden) and the Carmagnola Grey (Italy).  Displays could feature a wider range of endangered species and even highlight some wild breeds that are endangered like the Riverine Hare of South Africa.  

One of the draws of the Farm is to give people opportunities to see adorable animals that they can whenever possible interact with.  It's also important to demonstrate how animals and people interact in other places.  What domestication looks like and the fact that breeds of domesticated animals can also go extinct.

8) And finally beyond the new far end of the farm area establish an heirloom Apple orchard.  This would highlight the fact that even fruit species can go extinct.  It might also lead to an annual Heirloom Apple festival with all sort of potential revenue streams for the zoo.  It would also require a certain amount of engineering prowess to be successful in keeping out the local deer.  In this area the main feature is a hillock.  I would love to see that turned into a raised "field" with steep stone walls all around of say 10 feet with a stylish wrought iron fencing around it.  Access would come via a set of steps with a complimentary ADA ramp and a gate sufficient to keep the deer out.  A space large enough to hold 16 trees, 8 each of two endangered heirloom species like: the Virginia Greening and the Roxbury Russet.  The latter is considered the oldest apple cultivar to originate in the United States.

That's a lot.  Here are some pics of our lovely farmyard folk.