Mosaic Theatre: Bars & MeasuresMaître

 "Bars & Measures" is the perfect example of what Mosaic Theatre in Washington, D.C. does when it does what it does best: Choose a play by a relatively new playwright that deals with complex cultural issues in non-linear ways that leaves the audience satisfied by a wonderful performance and yet stirred and unresolved with an experience that offers as many questions as answers.  Catch your breath.  

"Bars and Measures" is based on a real post-9/11 incident wherein the government infiltrated a mosque, sought out the most dissatisfied members of the community and then suggested a means to obtain justice illegally as a way to bait their marks.  Then the arrests and the high profile trials meant to make the rest of us feel safer.  It's not an easy subject, even now over 20 years removed.  This story is about two bothers: Eric and Bilal.  Eric loves classical music, Bilal is a well respected jazz musician.  Eric remains with the culture of their childhood, Bilal converts to Islam.  Bilal is arrested, and Eric stands by his brother visiting him in prison where Bilal attempts to convert Eric to the religion of jazz, all the while maintaining his innocence.  At trial, the government's evidence up-turned the lives of both men and rents asunder the power of familial loyalties.

The set is a simple and effective one-piece with defined zones representing different places.  The cast is made up of 4 actors, the two principle players and then two more who cover a handful of incidental characters.  The most significant is Sylvia, a woman who comes to Eric to ask him to be her accompanist. She is a secular Muslim, and as the story exposes the fault lines between the brothers, Eric's actions also destroy the relationship he has come to have with Sylvia.  The remaining supporting creative aspects of the production were good in that they were without distraction.  In the end, isn't that what every good designer wants?  To just be unnoticed.

To a person, the quartet of actors brought their talent and their A-game to the performances.  As I mentioned over diner afterwards, they inhabited the characters so seamlessly, that I never doubted they were who they said they were.  I don't know that there's a better compliment you can give.

The play opens with Eric (Joel Ashur) visiting his brother, Bilal (Louis E. Davis) in prison.  The guard (Afsheen Misaghi) always present, always looking on.

Eric remembering his older brother in simpler, happier times.

Eric developing a relationship with Sylvia (Lynette Rathnam)

Bilal explaining his situation as Eric looks on.

AN EPILOGUE OF FRIENDSHIP & EPIPHANY

Perhaps the best part of this experience was having it with 3 long-time friends and enjoying an early dinner at a nearby artisanal Pizzeria.  Friends with an interest and experience in theatre eager to process the play.  The natural starting place for a excellent conversation and fellowship.  

And a word to the Pizzeria, Mozzeria, all of the front staff are deaf; maître'd, and wait staff.  I first realized that the maître'd was deaf when we entered and asked for a table for four, his eyes locked on to the face of the person speaking and then quickly confirmed by sweeping his gaze nearly imperceptibly across our party, turning, he used his hand to bid us follow him.  My first thought, and with Gallaudet University nearby, was "wow, he's deaf.  How wonderful."  The server arrived and announced her deafness to us.  And that's when I mentioned that the maître'd was also deaf.  Soon it became apparent that the entirety of the front staff was also deaf.  I have to say, it was such a lovely experience.  Deaf folk make up such a small percentage of our neighbors.  Most of us never have a deaf friend.  And when we do encounter them, they are like exotic foreigners with a secret language of the hands and silent lips.  It's easy to fail to realize just how this single aspect of their lives is not the defining characteristic.  In an environment where the presence of people who are deaf is normative, I suddenly gained a deeper appreciation and gratitude for the resilience and humanity of deaf folk.  It may sound completely ridiculous, but I never before considered what agency for a deaf person navigating life in a aural world looked like. Shame on me.

Dinner: Swiss Steak over Rice.

 

Constellation Theatre Company: Incognito

 I'm not sure what I expected, because I came with no expectations.  All I knew was the title of the play: "Incognito."  And faith in Constellation Theatre Company to select and produce a quality piece of theatre.  I am happy to report that my faith was well place; although, I'm still not quite sure what I experienced.  You see, the play--in one continuous act taking 100 minutes--is a bit of an enigma.  Written in short vignettes that are woven together a little bit like a jenga tower. With each snippet more of the puzzle is revealed.  A puzzle comprised of three actual events/people and then turned with poetic license and embellished with fictional characters to heighten the emotional connection with the audience.  So you have the scientist who took Einstein's brain, along with two British men who suffered unusual brain conditions, one made extremely worse by the intervention of a surgeon.  You'll be forgiven if after 100 minutes you walk away as I did not knowing exactly what to think of it all.  Which, of course, if the point.  It's not what to think, but you continue to think about what you just experienced.

For the actors, of which there were only four, the challenge was playing multiple, diverse, and linguistically unique characters whose stories are hinted at from lives lived on both sides of the pond.  And here, I give a little extra kudos to Marcus Kyd who pulled off two very convincing dialects of British English, one posh and the other like that spoken by the actor Alan Cummings.  Each of the actors: Mr. Kyd, Kari Ginsburg, Ixchel Hernandez and Gerrard Alex Taylor were amazing.  To successfully depict so many characters, returning to most of them intermittently throughout, is no small fete.  The entire plausibility of the play depends upon it.  To a person, they were mesmerizing.  

The costumes were contemporary in design and shared a similar palette with tones shared randomly between the cast.  The set was made of what appeared at first to be marble blocks with for doorless "closets" against a wall dividing the stage area from backstage.  The boxes are all lit from within with a variety of colors that change with the mood and location of the scenario.  Above that stage area rows of incandescent light bulbs that also when on and off and grew brighter or duller with the needs of each moment.  Light firing like the electric pulse of the human brain. 

While the premise may not be everyone's cup of tea, the production was spot on.

Set Designed by Nephelie Andonyadis

Each actor ready to enter the stage area and begin the stories.

Gerrard Alex Taylor, Marcus Kyd, Ixchel Hernandez and Kari Ginsburg

Marcus and Kari with Albert Einstein's brain

Gerrard and Ixchel

Slow Cooker Retro-style

 I've had this slow cooker for over 40 years.  And it's still as wonderful as it was the first time I used it.  Today?  Swiss Steak.

Olney Theatre Center: Kinky Boots

 Wow!  Just wow!  I'm not ashamed to say that I was first person in the packed house to jump to my feet for a much deserved standing ovation.  For anyone unfamiliar, and honestly, I had only the vaguest of ideas what it was about (a shoe factory that makes kinky boots and wins Tony Awards).  The story is of a young ne'er-do-well, Charlie, who finds himself suddenly the inheritor of a shoe factory that he doesn't want and that has no one to buy its shoes.  A chance meeting with a Drag Queen, Lola, and suddenly Charlie's factory has a new direction.  Getting there comes with bumps and dips in the road, but in the end all's well that ends well.

While I was uninitiated, most of the very enthusiastic audience knew what they were getting into.  Lots of teenage girls and middle aged women in knee-high boots, for example.  A real mix along with the usual geriatric crowd that weekend matinees seem to cater to.  Normally, I'm one of the younger members of the audience, although this time, thanks to my recent birthday, I was able to purchase the ticket with the senior discount.

Of the particulars, the sound was iffy--the only real disappointment.  My seat was smack dab in the middle of the first row of the mezzanine that put me about 12 fee above and 20 feet away from the edge of the stage.  The perfect place to see the whole show at once; and you'd think it would be a good place to hear it, too.  Not that it was bad, per se, just noticeable in an annoying way.  The set was gorgeous and my first thought was that it reminded me of Onley's production of "Sweeney Todd."  My instinct was spot on, Milagros Ponce de Leon was responsible for the scenic design of both.  The Costumes!  Designed by Kendra Rai, who took home the top prize in the DMV's annual Helen Hayes Awards in 2012, 2015, and 2018 has another winner on her hands.  Magnificent.

Of course, what's a show without performers?  Here I'm going get specific, although all involved were delightful and wonderfully talented.  Together they formed a true ensemble, as well.  But I'm going to keep to two of the actors.  Vincent Kempski who played Charlie.  Before commenting on this performance, I want to say that Vincent is a talented musical theater actor and has a wonderful voice.  He also happens to have been a high school student at St. John's College back when my friend was the school Media Specialist.  She knows him as Vince.  I first encountered him as one of the Apostles in Signature Theatre's 2017 production of "Jesus Christ Superstar".  Apparently recognizing both his talent and his potential Signature proceeded to keep him busy.  Over the years I've also seen him in "Billy Elliot," "Assassins," and just this past December "Into the Woods" where he stole the audience's hearts as Cinderella's Prince.  Each show a larger roll, and better performance.  Stepping outside of Signature's esteemed bubble, taking the reigns of "Kinky Boots" for Olney was a brilliant choice for all involved.  Vincent was pitch perfect vocally, dramatically, comedic-ly.  And though we've never met, nor does he have a clue as to who I am, I couldn't help but feel a sense of pride for him in all that he's accomplished, and wonder at what awaits him in the future.

The pillar of the show is Lola, the leader of a troop of Drag Queens called the Angels.  The roll went to Solomon Parker III, another local talent who has also performed in a handful of Signature's productions, I've seen him in three, most recently as Harpo in "The Color Purple".  Honestly, when I made that connection, I had to ask myself, "really?"  So different and so utterly convincing were both performances.  Even within this single show, Solomon was given the opportunity to go from fierce diva to insecure, uncomfortable in his own skin, man.  He is a shoe in for Best Actor in a Musical, and he sets the bar for whomever will win.  

I wish there were more press photos; however, the show just opened on Thursday, and the fact that this was only their third performance--the sky is the limit!  The show has already been extended through March 26.

Lauren (Alex de Bard), Lola (Solomon Parker III) and Charlie (Vincent Kempski).

Ensemble number.

Solomon Parker III

Lunch: Cheesy Spinach Puff Pastry Pinwheels

 

Breakfast: Eggs Benedict