Randuwa II
Wednesday, October 21, 2026
Midterm Blue Wave Senate: Mid-Atlantic
Tuesday, October 20, 2026
Mid-tern Blue Wave Senate: NEW ENGLAND
My personal fantasy of the United States Senate reflecting the much talked about pending Blue Wave coming in the mid-term elections on November 3, 2026 I'm also looking at the current members of the Senate, and considering a handful of key demographics. These included: Gender, Race, Religion, and Disability. I will use these markers to create a diversity index score and then use that score to compare the present Senate with the new Senate, with the current body by region.
In fifth grade we studied the regions of the United States and I have always leaned on the definition of regional clusters which I learned sitting in Mrs. Spores class back in my little hometown in Michigan. You may feel free to disagree.
NEW ENGLANDComprised of 6 states and 12 Senators. All 12 caucus with the Democrats, though both Vermont (Bernie Sanders) and Maine Angus King) have an independent Senator. There are three races on the ballot from this region in 2026. One is sure HOLD for the Democrats (Ed Markey) in Massachusetts. One is a competative open seat in New Hampshire that has found its way onto most pundents TOSS-UP list, but I believe it will reamain Democratic and elect Chris Pappas. The final one is a vulnerable moderate Republican--one of only two left in the Senate. Defeating an incumbent is no easy task; however, I think that Democtratic candidate Troy Jackson, can pull this off in Maine. Maine being one of the first states to report results, the direction of this race will set the stage for the way election eve and the days to come will go.
Massachusetts Senior Senator, Elizabeth Warren, is another high profile player in the Senate. Her passion for economic equality and fiscal turpetude have been the focus of much of her legislative work. A solid Senator to have. Ed Markey, at 80, easily rebuffed a much younger insurgent candidate in the primary to earn the opportunity for a second term in the Senate. He's a shoe in win re-election.
Sunday, October 11, 2026
Folger Shakespeare Theatre: Measure for Measure
With a cast of this exceptional quality, the effort is also rewarded! The ensemble was led with great sincerity and energy by Renea S. Brown as Isabella, the sister who will do just about anything (and does) in order to obtain a pardon for her brother's life. Her skill at bringing every word out of her mouth to life really anchored the entire production. Her brother's been convicted of a crime moral turpitude and is sentenced to death. Meanwhile, there's a Duke who ups and leaves the city in the charge of his relatives, then disappears. But he hasn't gone anywhere, he's just disguised as an Abbot. He's sussing out corruption in the kingdom. And there is plenty to be found. The Duke was played with a boyish impishness by Nathan Darrow. His roguish good looks aided the presentation. Other shout outs go to Lee Osorio as the Duke's corrupt cousin, Angelo. Jonathan Feuer who plays the city's ne'er-do-well wannabe, Lucio --funniest lines/moments in the play go to him. What also set Feuer apart was his complete mastery of the physical gesture: a turn of his head, a movement of his hand or even a finger to punctuate a line. And finally to Chinai Routte who played Mistress Overdone/Francisca the town's 'overdone' madame--another source of much humor.
This is the second time I've seen "Measure For Measure" performed on stage. In spite of the excellent cast, the oddities of the characterizations (not as they were acted) as they were written persist and bloom primarily in the character of the Duke, who at times is inexplicably cruel to Isabella, whom he secretly loves. It's capricious and brings us to one of the most odd endings. Almost like a reprise of "As You Like It"'s mass marriage celebration, but with bizarre, unsettling twists like a post-nuptial promise to execute one of the grooms and then an odd pardon with the punishment transferring to the marriage itself... The roller coaster ride is just too jerky for me, but I guess Shakespeare did alright by himself in the long run...
Friday, October 9, 2026
Election 2026: The Final 30 Days, Post 1
TEXAS - 5
TENNESSEE - 1
Keeping track? That's 15 for the Republicans and 10 countered for the Democrats
Enter the state Supreme Courts and their review of these actions based upon the state's Constitution. 2 states struck down the new maps: Missouri and Virginia....
Sunday, September 27, 2026
Round House/Olney Theatre Centre: Ma Rainey's Black Bottom
This production, staged at Round House Theatre is a joint production between Round House and Olney Theatre Center. The moment I entered the theater and saw the set designed by Arnel Sancianco I was awestruck. With the combined resources of these two long established companies, the set made the one I experienced in the previous production look like something someone had tossed together in their garage. And so my level of expectation was set.
The cast read like a listing of DMV African American Royalty, with a couple of White Princes tossed in for good measure. Even in the minor roles of Sturdyvant and Irvin, Chris Genebach and Michael Glenn proved why they pretty much have the ability to write their own tickets when it comes to participating in local productions. In particular, you have to appreciate the nuance of physical gestures that they each brought to their characters.
The band was led by Craig Wallace, who like Chris and Michael, seems to be everywhere all the time in the DMV. He's a journeyman actor who can deliver any line with practiced intention whether it was written by a contemporary playwright like Wilson or the great bard Shakespeare himself. Around him were three supremely talented young bucks: Derrick Truby as Slow Drag, Ro Boddie as Toledo, and Yao Dogbe as Levee. Wilson demonstrates his genius as a character creator through the cadences and content of the riffing that occurs between the members of the band. Sometimes light-hearted and bawdy, and then inane and accurate historically. But never is it turned up to its highest excruciating pitch like it is when the bullshit becomes personal, raw, soul-wrenching.
And this is where Levee rises. His story of the rape of this his mother is as grand a soliloquy as anything Hamlet has to say. And Yao Dogbe grabbed the audience by the throat and held us just tight enough to keep us breathing. The scene closed out the first act and when the light went out you could hear the sound of molecules colliding, because no one had the strength to breath. If this doesn't garner a nomination for a Helen Hayes Award, then the characters great revelation is true--there is no God.
Finally, there is Ma Rainey and her entourage: nephew (Sylvester) and lover (Dussie May). Both give Ma opportunities to highlight her ultimate authority over her reality. As a portrayal of a supremely talented woman who will not settle for conventional societal roles of gender and race, Nicole Michelle Haskins brings her A-game to every scene. She not only dictates the terms of every interaction, she always gets her way. When she speaks of her understanding of the world and what she wants from it, you have no doubt that she's gonna get it--at least in this moment, with this group of characters. And when she performs the song, "Ma Rainey's Black Bottom," she transports you to 1927 as if you were there. It's magical.
It's been such an incredibly strong start to this year's theatre season. How good it is to live in the DMV!





































