Venus in Fur

Venus in Fur
by David Ives
Black Box Theater
Cotuit Center for the Arts

The black box theater at the Cotuit Center for the Arts is the most intimate space I’ve been in since I saw One in the Chamber. It was set up to seat about 35 people in an L shape around the stage, with the vertex of the L interrupted by Thomas’s desk and chair. The actors were never more than 4 or 5 feet away, so the audience was really drawn into the characters’ interaction.

Unfortunately, I was disappointed with the production. The actors were fine, and they delivered their lines skillfully. But so much in this play depends on accent. Vanda is supposed to have a broad Bronx accent, something that will contrast sharply with the RP accent she assumes when reading the play. The last time I saw this play, the actress didn’t have the accents down solid, and there was light between the accents, as it were. Lexi Langs didn’t even try for Bronx: she went for a watered down Valley girl. (Langs is Equity, so I was hoping for better.) So the ricochet shifts from Vanda–the–actress and Vanda–the–character didn’t have that crystal clarity. (And her German wasn’t the best, either.) The same was true of Santino Torretti; his shifts between bland American and “continental” weren’t particularly sharp. These accents are crucial to the mercurial balance between the two characters. When Vanda shifts accents the first time when she starts reading the play, Thomas is supposed to be shocked: this is the first indication that there is more to Vanda than meets the eye. The shift wasn’t shocking, and Torretti didn’t have much of a reaction.

I think this lack of clarity in accents contributed to the role reversal at the end of the play being less effective; certainly the final apotheosis wasn’t as harrowing as it should be.

The set was about as minimal as it could be. The window through which we see the lightning was fake, which was okay, except that Vanda is supposed to throw Thomas’s phone out the window as she begins to take control. Throwing the phone out the window is an irrevocable break between Thomas and Stacy, and Thomas finally realizes he has lost control. It’s not as effective (or as irrevocable) if Vanda merely tosses the phone aside on the sofa.

I’m sure the rest of the audience enjoyed the performance (it was opening night, and the house was full). And it was enjoyable, as far as it went. But the rest of the audience won’t know what they missed.

Thomas Santino Torretti
Vanda Lexi Langs
Director Aisha Stewart
Stage Manager Erin Tainor
Costumer Greta Bieg
Set/Props James Newton

The Pirates of Penzance

The Pirates of Penzance
Music by Arthur Sullivan
Libretto by W. S. Gilbert
Adapted by Sean Graney
co-adapted by Kevin O’Donnell
The Hypocrites
Olney Theatre Center
Mulitz-Gudelsky Theatre Lab

This production of Pirates by The Hypocrites (a Chicago-based ensemble) runs about 85 or 90 minutes “with a one-minute intermission”. It’s a highly interactive production. The action takes place on and around a dock, which angles its way across the center floor of the stage. There are benches and coolers all around the dock, two circular picnic tables topped with baby wading pools, and a “lifeguard” tower at the back. The entrance from backstage is covered by a large curtain emblazoned with the word “DUTY”. And every time any cast member mentions the word “duty”, the entire cast does this funny little bow in the direction of the curtain. The audience is invited to sit in the “promenade” area, meaning the benches, the coolers, the picnic tables, and even the stage. The only catch is that fairly often they will be instructed to get out of the way of the players. In the nook of the angled dock, there’s a pool of beach balls of various sizes, and other pool toys, which were bounced around by cast and audience before the show (and used as props during the show itself).

It’s been years seen I saw Penzance, so I’m not really sure what got cut or compressed, But the play moves along with great panache, and a lot of comedic interaction with the audience. All of the actors play instruments: during the pre-show warmup (which included “Sloop John B”; the post-show number was “Come Sail Away”), the distribution was four guitars, three ukuleles and one double-stringed ukulele, a violin, and an accordion. Later doublings included a clarinet and a washboard. Two stage managers (wearing red Lifeguard hoodies) made their way around the theater redistributing props and handing out and collecting instruments (including Ruth’s sexy lady garments which she threw to me when they were no longer needed).

The cast was excellent, but I particularly want to call out Shawn Pfautsch as the Pirate King and Mario Aivazian as Frederic. The musical peformances were also excellent, but here, too, I want to call out a couple of numbers. After generally high-powered numbers through the first act, the sudden pianissimo a cappella performance of “Hail, Poetry” was breathtaking. And the Major-General’s song “Sighing softly to the river” was embellished with an obbligato from the Pirate King (seated in the non-moving section of the audience) and a bit of musical saw from Edith. (I talked with Shawn Pfautsch after the show, and he said he started singing that obbligato when he was just one of of the pirates, but he kept singing it as the Pirate King just because he had already worked out the complexities of the performance.)

There was a talkback with most of the cast after the show. Some of the discussion centered on the improv nature of the staging. Pfautsch said that, in general, th show is about 98% scripted, but the improv can expand to 5% or even 10%, depending on the audience. He said that he particularly likes to play Katisha in The Mikado, because he can be as mean as he wants. At one performance, he made a really mean face, and did the two-fingered “I’m watching you” gesture at a four-year-old girl. The little girl, obviously a budding thespian, scowled and made the gesture right back at him, bringing the show to a halt. Each cast also has a repertory of “free skates”, little bits of improv that they can do one-on-one with members of the audience.

Frederic Mario Aivazian
Major-General Matt Kahler
Pirate King Shawn Pfautsch
Pirate One Brian Keys
Pirate Two Eduardo Xavier Curley-Carrillo
Pirate Larry Lauren Vogel
Ruth/Mabel Kate Carson-Groner
Edith Dana Omar
Isabel Tina Muñoz-Pandya
Iphigenia Amanda Raquel Martinez
Director Sean Graney
Co-Director Thrisa Hodits
Music Director Andra Velis Simon
Scenic Designer Tom Burch
Costume Designer Alison Siple
Lighting Designer Heather Gilbert
Sound Designer Kevin O’Donnell
Production Stage Manager Miranda Anderson

The Lonesome West

The Lonesome West
By Martin McDonagh
The Keegan Theatre

The Lonesome West is funny, but I don’t think it’s one of McDonagh’s best efforts. I was actually a bit disappointed. I think the root of the problem is that the two brothers in The Lonesome West are psychopaths—and nothing more. The eponymous Lieutenant of Innishmore is a psychopath, but he does have some redeeming characteristics. He’s sincere in his defense of innocent Catholic children from James’s petty drug dealing (although he doesn’t give tuppence for the Protestant children), and he’s deeply devoted to his cat Wee Thomas. And the nominal Beauty Queen of Leenane is a twisted sadist, but you can understood how she got there with her cruel domineering mother.

The brothers in The Lonesome West don’t have any such mitigating circumstances. They’re just mean. They take pettiness to new heights, and their brag-off of offhand cruelties in the denouement of the play are typical of McDonagh (even though they’re only described, they’re still not for the faint of heart). But I never felt any sympathy for either character.

Father Welsh is a sympathetic character, if somewhat mopey. But he’s generally ineffective, and he’s not the central character. Girleen’s crush on him comes on rather suddenly; in fact, I almost didn’t recognize it for what it was until the scene was almost over. And then, of course, it goes permanently unrequited. And it seems to have been a surprise to the brothers when they finally figure it out.

Looking at the slightly seedy middle-class living room of the two brothers, I found my self wondering, how do they support themselves? Sure, Valene gets an inheritance from their father, but what did the father do? And what do the brothers do? They don’t seem to have any form of employment. (The Beauty Queen, at least, seemed to be on some form of the dole, and she did grow vegetables or something in a small garden.)

I would go see another production of Lieutenant if it came around, but I don’t think I’d bother with The Lonesome West, even if it were on a subscription (unless it had some sort of powerhouse cast).

Coleman Connor Matthew J. Keenan
Father Welsh Chris Stezin
Valene Connor Bradley Foster Smith
Girleen Kelleher Sarah Chapin
Director Mark A. Rhea
Set Designer Matthew J. Keenan
Lighting Designer Colin dieck
Costume Designer Erin Nugent
Sound Designer Tony Angelini
Stage Manager Alexis J. Hartwick
Hair and Makeup Designer Craig Miller
Set Dressing and Properties Carol H. Baker
Assistant Director Josh Sticklin
Fight Choreography Casey Kaleba

SI: Shakespeare’s Kitchen

“Food & Feasting in Elizabethan England”
Francine Segan, lecturer
Smithsonian Institution
S. Dillon Ripley Center

Francine Segan is a cultural historian who has published a number of food-related books. The launching point for this evening’s was her book Shakespeare’s Kitchen: Renaissance Recipes for the Contemporary Cook. I was expecting the talk to be more Shakespeare oriented: there were a few quotes from Shakespeare, but that was about it. One of the most interesting Shakespeare observations came in the promotional material for the Elephant & Castle Pub and Restaurant (which has two locations in DC), which was one of the “sponsors” (read “providers”) of the post-lecture reception.

Shakespeare mentions the Elephant Lodgings in Twelfth Night. In Act 3 Scene 3 Antonio says “in the south suburbs, at the Elephant, is best to lodge.” Although the play is set in Illyria in the Balkans, Shakespeare often used local London references. The theatres were all in Southwark, so Shakespeare’s line may represent an advertisement for a local hostelry. “The Elephant” is a common present-day nickname for the Elephant and Castle.

So maybe one of the earliest examples of product placement?

I also was expecting a little more in the way of recipes. There weren’t any real recipes, but there was lots of interesting information about general cooking methods, ingredients, and the general practice of grand feasting.

Apparently pies were really big—meaning both popular and large. Some pies could be four feet high, and they contained everything imaginable: all sorts of game, fruit, even pasta. They often had highly decorated crusts, ranging from elaborate bas reliefs to fish heads poking out above a crusty surf. Yes, four and twenty black birds baked in a pie was a real thing: and if birds were too difficult to wrangle, you could also use frogs or garden snakes.

Segan talked about her experiences accessing rare book collections to do her research. (One such experience was getting to look at a book here at the Folger, which required all sorts of preparations.) She attracted a couple of librarians because she was laughing hysterically while reading an etiquette book. Concerned that they were going to shush her or kick her out, Segan was relieved to find out they only wanted to know what was so funny in an etiquette book that hadn’t been checked out since 1917. It turns out that the book had a chapter on how to be an entertaining guest, so it included lots of puns, jokes, riddles, and stories you could tell between courses to entertain your hosts and other guests. Joke #17: “A ship at sea was caught in a terrible storm, so the captain came up on deck to ask the passengers if they had anything heavy would be willing to toss overboard to lighten the ship. ‘Yes’, answered one of the passengers, ‘my wife!'” So apparently (she said) Henny Youngman’s material is even older than we thought. She also recited a riddle in rhyme, which, much like the old Anglo-Saxon riddles, led you to believe that the answer was X-rated, while the real answer was perfectly G.

Thus my riddle doeth begine;
A mayde would haue a thinge put in.
And with hir hand she brought it to;
It was so meeke, it would not doe:
And at the length she vsed it soe,
That to the hole she made it goe.
When it had done as she could wishe,
“Ah, h!” quoth she, “I’me glad of this!”

Or as worded in a more modern vernacular, “To make it stiff and stand it up, she rubs it. To make it slip and slide it in, she licks it. What is she doing?”

Get your minds out of the gutter: she’s threading a needle.

Segan also described the Elizabethan love for trompe l’oeil food, such as meatball appetizers filled with grapes and shaped like pears, with a sprig of herb for a stem. There was also a roll shaped like … something, I forget what, with a wine jelly center, so that when you cut it or bit into it, it appeared to bleed. Oh, the were really jolly, those Elizabethans.

Segan touched on Elizabethan cooking techniques for measuring time and temperature, such as cooking asparagus only as long as it took to recite the Pater noster (in Latin, of course), or gauging the the heat of an oven by being able to hold your fist in it for twelve seconds. She also explained some idioms, such as “upper crust” meaning the best part of the bread, because (due to the vagueness of oven temperatures) the bottom crust was often burned, and the loaf would be sliced horizontally, rather than vertically.

Cookbooks also contained recipes for home remedies, some of which actually had some merit. She asked an ENT about one remedy, which called for roasting an onion and squeezing its juices into the ear to cure deafness. Sure, the doctor replied, the onion juice contains an enzyme which would be good for clearing out ear wax, which would have caused degraded hearing for many people. And there were lots of recipes on how to build up “courage” (a euphemism for sexual prowess)—that is, the Elizabethan equivalent of the little blue pill. Prunes (and fruit in general) and sweet potatoes were considered aphrodisiacs.

Segan mentioned a number of spices that sound interesting, and she says they’re available cheaply on the internet: cubeb, long pepper (which isn’t really a pepper; it looked like a miniature pine cone), and grains of paradise. And she refuted the notion that spices were used to cover up the smell or taste of rancid meat. A lot of recipes included timetables, such as, if you’re going to serve dinner at three, then you need to butcher your goat at ten, and then marinate it for however long.

Apparently the Elizabethans were real jokesters, creating mugs with lattice sides, that could only be drunk from if you covered up certain holes and drank through a built-in straw. They also had pitchers like that; one, mad of glass, looked for the world like a Klein bottle. (The guy behind me had the same thought.)

Segan walked through the whole process of putting on an Elizabethan feast, describing the invitations and the cooking, and showing samples of the different courses. Such a feast would have been a multi-hour event, starting at 11:00 AM, and possibly lasting until 3:00 PM or 4:00 PM. Dessert would have included fruit, nuts, and cheese. And more pies: she described a spinach and almond pie which would have been considered a sweet dish. (I thought of the Indian carrot-based gajar halwa.) One of the recipes I want to track down is peatelli, made from just four ingredients: flour, honey, almonds, and pepper.

There weren’t copies of her book to buy and get signed, because it was published in 2004, and is out of print. But there are copies available online, so I may hunt one down.

In the atrium where the post-lecture reception was held, there was a curated photography exhibit of pictures taken by Smithsonian Institution employees. There were seven categories: SI places; non-SI places; selfies; SI people; non-SI people; SI objects; and non-SI objects. Pictures on display were the first through third places and honorable mentions in all categories, plus a best in show. Needless to say, there were some really interesting photographs.

Behzod Abduraimov

Behzod Abduraimov
Washington Performing Arts Society
Patrick Hayes Piano Series
Kennedy Center Terrace Theater

Behzod Abduraimov is a very talented pianist who shows great promise. He handled this challenging proram with great aplomb. My only complaint is that he tends to over-pedal, making the sound muddy.

It seemed clear to me that Abduraimov wanted to play the four Chopin scherzos as a coherent group. That was derailed not only by applause after the first scherzo, but also by a stream of stragglers taking their seats. The precedent set, applause followed the next two scherzos with Abduraimov nodding in acknowledgement, but remaining seated.

Abduraimov handled the scherzos’ technical challenges with ease, and they were very well phrased. There were, however, a couple of muddy patches, and a couple of balance issues between accompanimental passages in the left hand and melody in the right.

As the program notes said, it’s rare to hear the original piano version of Pictures at an Exhibition. Even though I’ve played the piano version, my mind is still heavily influenced by the orchestral version (meaning the Ravel, of course, although I’ve heard others). Apparently, Abduraimov was influenced, too, because he omitted the Promenade after “Two Polish Jews”. That’s a shame, because that particular Promenade relfects Mussorgsky’s pride of ownership: he owned the two portraits which the preceding movement depicts.

The transition from “The Hunt on Fowl’s Legs” to “The Great Gate of Kiev” was a bit anticlimactic. That opening statement isn’t as grand as later versions, but it needs to be grand enough to absorb the energy of the pounding upward scales as Baba Yaga flies off. Just another couple of notches of volume would probably have sufficed.

There were a number of passages of great delicacy: “Tuileries” and “Cum Mortuis in Lingua Mortua”, for example. And there were some over-pedaled passages (“Gnomus”, and the Promenade after “Bydlo”, and the chant sections in “The Great Gate”). Finally, Abduraimov made the conclusion of “The Great Gate” convincing on the piano, no mean feat in comparison to Ravel’s idiomatic orchestration.

As an encore, Abduraimov gave a nicely delicate performance of Tchaikovsky’s Nocturne in C# Minor (Six Morceaux, Op. 19, No. 4).


Frédéric Chopin Ballade No. 1 in G minor, Op. 23
Ballade No. 2 in F Major, Op. 38
Ballade No. 3 in A-Flat Major, Op. 47
Ballade No. 4 in F minor, Op. 52


Modest Mussorgsky Pictures at an Exhibition<
  • Promenade
  • Gnomus
  • Promenade
  • Il Vecchio Castello
  • Promenade
  • Tuileries
  • Bydlo
  • Promenade
  • Ballet of the Chicks in their Shells
  • Two Polish Jews, One Rich, the Other Poor
  • (omitted: Promenade)
  • Limoges, The Market Place
  • Catacombae, Sepulcrum Romanum
  • The Hut on Fowl’s Legs (Baba–Yaga)
  • The Great Gate of Kiev


Pyotr Tchaikovsky Nocturne in C# Minor (Six Morceaux, Op. 19, No. 4)

Baltimore Symphony Orchestra

Baltimore Symphony Orchestra
Jakub Hrůša, conductor
Sergey Khatchatryan, violin
Meyerhoff Symphony Hall

I was tired, but I really wanted to hear the Sibelius, since it’s one of my favorites (and not just a favorite violin concerto). It’s demanding, and I’m afraid Khatchatryan just wasn’t up to it. It was a mostly respectable performance, but not one for the ages. There were passages of extreme delicacy, but they were perhaps too restrained. This concerto is supposed to teem with energy, but it was generally inert. And not always accurate: a couple of passages in the first movement where the soloist plays a duet with the principal viola weren’t flawless, and the winds were unsteady at times in the second movement. Khatchatryan would occasionally slide into high notes after large upward leaps, which he might have been doing intentionally, but I found it unidiomatic. And the last movement lacked fire in the high passages. Those were some lethargic polar bears.

As an encore, Khatchatryan played a solo work, an Armenian song which he didn’t announce very clearly. It seemed like a theme with variations: a statement in a high tessitura; a variation in harmonics; a variation in the violin’s lowest range; a variation in fourths; and finally a tremolo passage that faded away. Khatchatryan showed himself to be a very sensitive performer with excellent technique. I think he’s just not ready for the Sibelius, or maybe he’s not temperamentally suited for it.

As I said, I was tired, and I didn’t want to be disappointed by the Brahms, which is also one of my favorite works, so I left at intermission.


Leoš Janáček Jealosy
Jean Sibelius Violin Concerto in D Minor, Op. 47
  • Allegro moderato
  • Adagio di molto
  • Allegro, ma non tanto

    Sergey Khatchatryan, Violin


Variations on an Armenian song (NFI) for solo violin


Johannes Brahms Symphony No. 4 in E Minor, Op. 98
  • Allegro non troppo
  • Andante moderato
  • Allegro giocoso
  • Allegro energico e passionato

A Gentleman’s Guide to Love & Murder

A Gentleman’s Guide to Love & Murder
Book and Lyrics by Robert L. Freedman
Music and Lyrics by Steven Lutvak
Based on a novel by Roy Horniman
Kennedy Center
Eisenhower Theater

The movie Kind Hearts and Coronets is also based on Horniman’s novel, but even though the musical follows the film very closely, it can’t claim the film as an antecedent because of rights issues. John Rapson gets the Alec Guinness role(s), and he does a phenomenal job. (In the program, his understudies are listed as “For the d’Ysquith Family.) His co-star Kevin Massey as Monty Navarro, the young, guileless heir to the title, who accidentally falls into a life of murder, is very likeable, but Rapson steals the show.

The orchestra had a sort of G&S operetta sound to it. I don’t know if that was intentional, but I thought it was appropriate. The set was a stage-within-a-stage, and in general, the show was presented as flashbacks while Monty writes his memoirs in prison. (Unlike the censored American version of the movie, Monty recovers his memoirs just before the curtain.) There were some clever stage bits. During “I’ve Decided to Marry You”, there is a nominal hallway with two doors—one to the room where Sibella has been hidden, and one where Monty is becoming engaged to Phoebe—allowing a touch of farce, as Monty desperately tries to prevent the two women from meeting. During “I Don’t Understand the Poor”, the family portraits in the backdrop move aside to reveal the bewigged company who sing backup to a befuddled Lord Adalbert. And, this being the 21st century, there are computer graphics, too. During “Inside Out”, as Henry runs back and forth upstage, he’s chased by swarms of CGI bees.

There are a couple of slightly cringey songs. “Better With a Man” has obvious homoerotic undertones, but I don’t think it crosses the line into homophobia. And “Lady Hyacinth Abroad” is funny, but it has some caricatures (Egypt, India, “Africa”) of the sort that Ed Dixon got flack for when Signature produced his Cloak and Dagger a couple of seasons ago.

In a nice touch, during the curtain call, Rapson is dressed as Chauncey, the last of the D’Ysquiths, currently working as a janitor, and Massey pulls a small belladonna blossom out of his jacket pocket (he put it there halfway through the first act) and hands it to Rapson—who pops it in his mouth as the two walk offstage.

Monty Navarro Kevin Massey
Miss Shingle Mary VanArsdel
Sibella Hallward Kristen Beth Williams
Asquith D’Ysquith, Jr John Rapson
Tour Guide Megan Loomis
Lord Adalbert D’Ysquith John Rapson
Reverend Lord Ezekial D’Ysquith John Rapson
Miss Barley Lesley McKinnell
Lord Asquity D’Ysquith, Sr John Rapson
Henry D’Ysquith John Rapson
Tom Copley Matt Leisy
Phoebe D’Ysquith Adrienne Eller
Lady Hyacinth D’Ysquith John Rapson
Newsboys Matt Leisy, Ben Roseberry, Megan Loomis,
Kristen Mengelkoch
Major Lord Bartholomew D’Ysquith John Rapson
Lady Salomé D’Ysquith Pumphrey John Rapson
Actors Ben Roseberry, Matt Leisy, Christopher Behmke
Lady Eugenia Kristen Mengelkoch
Mr Gorby Christopher Behmke
Chief Inspector Pinckney Ben Roseberry
Guard Matt Leisy
Magistrate Christopher Behmke
Chauncey John Rapson
Ensemble Christopher Behmke, Matt Leisy, Megan Loomis,
Lesley McKinnell, Kristen Mengelkoch, Ben Roseberry
Dance Captain Sarah Ellis
Fight Captain David Scott Purdy
Director Darko Tresnjak
Scenic Designer Alexander Dodge
Costume Designer Linda Cho
Lighting Designer Philip S. Rosenberg
Sound Designer Dan Moses Schreier
Production Designer Aaron Rhyne
Hair & Wig Designer Charles G. LaPointe
Makeup Designer Brian Strumwasser
Orchestrations Jonathan Tunick
Music Director Lawrence Goldberg
Production Stage Manager Daniel S. Rosokoff
Choreography Peggy Kickey

Musical Numbers:
Act I
“A Warning to the Audience” Company
“You’re a D’Ysquith” Miss Shingle, Monty
“I Don’t Know What I’d Do” Sibella
“Foolish to Think” Monty
“A Warning to Monty” Ensemble
“I Don’t Understand the Poor” Lord Adalbert, Ensemble
“Foolish to Think” (Reprise) Monty
“Poison in My Pocket” Monty, Asquity Jr, Miss Barley
“Poor Monty” Sibella, Ensemble
“Better With a Man” Henry, Monty
“Inside Out” Phoebe, Monty
“Lady Hyacinth Abroad” Lady Hyacinth, Ensemble
“The Last One You’d Expect” Company
Act II
“Why Are All the D’Ysquiths Dying?” Mourners, Lord Adalbert
“Sibella” Monty
“I’ve Decided to Marry You” Phoebe, Sibella, Monty
“Final Warning” Ensemble
“Poison in My Pocket” (Reprise) Monty
“Looking Down the Barrel of a Gun” Lord Adalbert, Company
“Stop! Wait! What?!” Monty
“That Horrible Woman” Sibella, Phoebe, Inspector, Magistrate, Guard
“Finale” Company

Orchestra: piano, clarinet, oboe/English horn, bassoon, French horn, trumpet/piccolo trumpet, 2 violins, viola, cello, bass, drums/percussion

ICONS: of Dance

I had the opportunity to go to the second of The Washington Ballet’s “ICONS: of Dance” series. These are basically master classes for a couple of TWB’s principal dancers, given by some famous—iconic—dancer. At this session, Amanda McKerrow was coaching Maki Onuki and Tamás Krizsa in the duet from the second act of Giselle.

It was fascinating to watch the coaching process. McKerrow had already worked with Onuki and Krizsa earlier in the day, so they were already incorporating her advice into their performance. After running through the duet with the music, the dancers then went back to do short sections, while McKerrow made further adjustments, after talking to the dancers about their motivation. McKerrow told Onuki that she should feel Krizsa’s physical presence even when she wasn’t facing him, and that she should show with her body how she is pulled to him. She also had Onuki make subtle adjustments to her body position, like bending more at the waist when revolving slowly, to make the movement more organic.

You also realize how much work is involved when you see the dancers this close up. There’s one move where Krizsa is standing upright, holding Onuki by the hand, and she leans her whole body back, starting from the ankles. It looks effortless when seen in a hall, but this close you could see just how tensed Krizsa’s bicep was. Onuki is petite: she’s a head shorter than Krizsa, and she can’t weigh more than 100 pounds (well, maybe, I’m a bad judge of weight, but still), and Krizsa has a slightly more athletic build than his company mates. But you can see just how much effort is required for Krizsa to hold her securely, or to lift her over his head by the waist while Onuki strikes these elegant arched poses.

At the end of half an hour, the dancers had had quite a workout, and McKerrow was quite happy with the additional progress they had made.

The second half hour was a conversation between McKerrow and Septime Weber, the company’s artistic director, with a few questions from the audience. Weber began his conversation by asking McKerrow about her experiences with Giselle. McKerrow answered that her first Albrecht was Mikhail Baryshnikov. At 21, she was part of “Baryshnikov & Co.”, an ad hoc troupe that went touring around the country in the off-season. In the course of just under 50 days, they gave over 40 performances, about half of which included the second act of Giselle. She said they had their own private jet, like rock stars, and then she observed that “Misha was a rock star.” Her last Giselle was at age 41, twenty years later, and she felt she understood the role better. She went on these tours in 1985 and 1986, and her first full length Giselle was in 1987 (at which point she knew the daunting second act cold). Other Albrechts she danced with included Kenneth MacMillan, Robert Hale (?), Julio Bocca, Wes Chapman, Ethan Stiefel, and Patrick Bessell.

McKerrow started out as a “Mary Day” girl, dancing in the Washington Ballet school. She remembered Day as being demanding, but bright and cheerful. McKerrow and her parents had some doubts initially about a career in dance. One teacher said she would never be a good dancer. When Day was asked, however, she said, “Why, she’s already a dancer.” McKerrow was called by the ABT to audition at 16, but Day said “if they want you now, they’ll still want you in a couple of years.” She advised McKerrow to compete in the Moscow International Ballet competition, which was very good advice: McKerrow was the first American to win.

McKerrow talked about her experiences with Anthony Tudor, whom she described as being very hawk-like. (Agnes DeMill, she said, was very theatrical.) She danced for Tudor for her first five years at ABT, which she described as being very formative. She always enjoyed contemporary ballets, and she seemed to have a bit of regret that in later years at ABT, she was type-cast in classical roles. (While at TWB, where she started her career, she danced a number of works created by Choo-San Goh.) Still, she has become an expert in Tudor’s work, having danced Jardin aux lilas with her husband, John Gardner. (At least, that’s what I think she said. She and Weber mentioned the ballet several times, but that’s not what I thought they said.) The two of them are now repetiteurs of Tudor’s work, visiting dance companies around the country helping to prepare Tudor ballets, and to ensure that they’re performed the way Tudor intended.


By Giacomo Puccini
Libretto by Giuseppe Adami and Renato Simoni
Based on the play by Carlo Gozzi
The Metropolitan Opera
Lincoln Center

As you would expect from Zeffirelli, this is a sumptuous production. Take, for example, the opening scene: a large sea of peasants in drab gray blue in front; courtiers in bright silver and white; Ping, Pang, and Pong in their loud signature colors (red, yellow, and green); the high court in gold, the emperor in black; and Turandot in ice blue. On the other hand, there is some superfluous movement thrown in to liven up what would have been static staging. In the opening scene, a handful of ninjas creep around the stage, as if looking for a lost contact. (Because it’s too complicated to choreograph the crowd surging and being held at bay by the guards.) And during Turandot’s big Act II monologue, the women courtiers kept flapping their extra-long sleeves, which was distracting. More effective was the movement of the three “Masks” (basically stand-ins for Ping, Pang, and Pong) during Calaf’s riddle scene.

I thought Nina Stemme was fine as Turandot. This is an unusually dramatic soprano role for Puccini; sopranos who sing Turandot frequently sing the heavier Wagner and Strauss roles. (Stemme, for example is singing Elektra at the Met this spring, and Brunnhilde in the WNO’s Ring.) Marco Berti’s Calaf, however, seemed a little strained: even in Act II, his high notes were still not secure. Ronald Naldi’s Emperor Altoum had a small sound, but I suspect that’s because he was so far back and high upstage. Leah Crocetto was lovely as Liù. This is the part that’s most like the typical Puccini heroine.

In this production, Ping, Pang, and Pong were nicely characterized—a touch of humor without taking away from the gravity of the situation. I’ve seen other versions (in fact, I think it was this production a few years ago, because the Act II, scene 1 set looked very familiar) where Ping, Pang, and Pong flitted around so flamboyantly during their scene that you lost sight of their homesickness and the horrors perpetrated by Turnadot. I’ve always seen this scene as laying important groundwork for Turandot’s character providing the context for her delayed vocal appearance in the next scene.

I was sorry that only the principals got curtain calls (after each act, no less). The chorus plays in important role in this opera, and it’s a shame their excellent work went unlauded.

Turandot Nina Stemme
Liù Leah Crocetto
Calaf Marco Berti
Timur Alexander Tsymbalyuk
Amperor Altoum Ronald Naldi
Ping Dwayne Croft
Pang Tony Stevenson
Pong Eduardo Valdes
Three Masks Elliott Reiland, Andrew Robinson, Amir Levy
Mandarin David Crawford
Executioner Arthur Lazalde
Prince of Persia Sasha Semin
Handmaidens Anne Nonnemacher, Mary Hughes
Temptressess Jennifer Cadden, Oriada Islami Prifti,
Rachel Schuette, Sarah Weber-Gallo
Conductor Paolo Carignani
Production Director Franco Zeffirelli
Set Designer Franco Zeffirelli
Costume Designer Anna Anni, Dada Saligeri
Lighting Designer Gil Wechsler
Choreographer Chiang Ching
Stage Director David Kneuss
Chorus Master Donald Palumbo
Children’s Chorus Director Anthony Piccolo

Noises Off

Noises Off
By Michael Frayn
Roundabout Theatre Company
American Airlines Theatre

Noises Off (as in “noises offstage”) is one of the quintessential British farces. There are (if I remember correctly) eight doors on two levels and a landing, and there are the usual comings and goings and people passing unnoticed. Each act ends, of course, with a complex sequence of musical doors.

This is the ultimate in-the-theater play that was mentioned in the notes to Shakespeare Theatre Company’s double bill of The Critic and The Real Inspector Hound. In this case, a hapless theater company in the boondocks is preparing Nothing On, by Robin Housemonger—a typical farce involving a young woman in her underwear (“small clothes”), men dropping their clothes, unconsumated sex, and general miscommunication. Act I is the dress rehearsal of Act I of Nothing On (although it’s more of a technical rehearsal: there’s a lot of argument about that) at the Grand Theatre in Weston-super-Mare. Act II takes place a month later: it’s Act I of Nothing On again, this time seen from backstage at the Theatre Royal in Ashton-under-Lyne. Act III (following Act II without intermission) is, yet again, Act I of Nothing On, this time seen from the front.

In Act I, it takes the cast forever to get through Act I of Nothing On. They argue with the director (who makes his entrance through the orchestra seats, and occasionally appears in the balcony) over direction and motivation. Their romantic relationships get tangled, and the seeds of doom are sown.

In Act II (the backstage view), the complex relationships between the actors are deteriorating (Selsdon Mowbray’s drinking, for example, is out of control), and there’s a fair amount of backstabbing and sabotage going on. We get to see the petty fighting and bickering, which miraculously lines up the the play going on onstage (i.e., upstage of the set, partially visible through various doors and windows). The mathematical precision is comparable to a triple fugue.

In Act III, the performance has gone to pot. The complex movement of plates of sardines collapses in a mess on the floor that the actors slip on. There are blown lines and a flurry of improvisations at the end as the actors try to salvage the act and get it to limp to an end. There’s also a bit of collapsing set (a trope which The Play That Goes Wrong takes to unparalleled heights).

The cast is generally excellent, although in the second act it was hard to follow all the deteriorating relationships. A lot of the “conversations” are mimed—because they’re backstage, and they can’t make noise that would disrupt the action “on stage”)—and it wasn’t always clear just what messages they wanted to convey to each other. On the other hand, there was some wonderful business with an ax, and the classic prank of tying someone’s shoelaces together led to some seriously athletic movement.

It’s hard to believe that Noises Off is over 30 years old. Its comedy is timeless. Well, except for the fact that Frayn has been tweaking it to keep it from aging, most recently in 2000. But the core of the play, the mathematical precision of that second act, is one of the marvels of modern theater. I can’t believe it took me so long to see it for the first time.

Nothing On Noises off IRL
Mrs Clackett Dotty Otley Andrea Martin
Director Lloyd Dallas Campbell Scott
Rober Tramplemain Garry Lejeune David Furr
Vicki Brooke Ashton Megan Hilty
Assistant Stage Manager Poppy Norton-Taylor Tracee Chimo
Flavia Brent Belinda Blair Kate Jennings Grant
Philip Brent/Sheikh Frederick Fellowes Jeremy Shamos
Company & Stage Manager Tim Allgood Rob McClure
Burglar Selsdon Mowbray Daniel Davis
Director Jeremy Herrin
Set Designer Derek McLane
Costume Designer Michael Krass
Lighting Designer Jane Cox
Sound Designer Christopher Cronin
Original Music Tod Almond
Hair and Wig Designer Paul Huntley
Comedy Stunt Coordinator Lorenzo Pisoni
Dialect Consultant Elizabeth Smith
Production Stage Manager Linda Marvel