Woman Around Town’s Editor Charlene Giannetti and writers for the website talk with the women and men making news in New York, Washington, D.C., and other cities around the world. Thanks to Ian Herman for his wonderful piano introduction.
When the National Portrait Gallery scheduled an extensive renovation of the museum’s “America’s Presidents,” the exhibition briefly closed from February 26 through March 23. A temporary exhibition has now been installed in the west gallery on the second floor and will remain on view until September 4. The newly restored gallery space will reopen on September 22, 2017.
“America’s Presidents,” the nation’s only complete collection of presidential portraits outside the White House, is the museum’s most popular exhibition, so a seven-month closure was ruled out. “We don’t want to get letters from school groups saying they are disappointed that they didn’t get to see the presidents,” said David C. Ward, senior historian and director of scholarly programs, National Portrait Gallery. The temporary home for the nation’s 44 presidential images offers visitors a special treat: two woodburytype portraits of former President Barack Obama by Chuck Close. (Obama’s official portrait for the museum has yet to be commissioned.)
Also on display in the space is “Hindsight Is Always 20/20” by contemporary artist Luke DuBois. Working with the state of the union addresses of 41 presidents, ending with George W. Bush, DuBois created “word clouds,” pulling words and phrases from these speeches and arranging them like an optician’s eye chart. The result is a snapshot of what major issues occupied each president as he addressed the nation.
Refurbishing the permanent exhibition, as well as setting up its temporary home, is “an enormous undertaking,” according to Ward. “We’ve been open for ten years, and there’s been a desire to redo the exhibition, from the lights to the historical context,” he said. Besides the 44 paintings, the show also includes a priceless bust of George Washington, housed in a glass case that requires proper security precautions. Still, Ward said the museum’s staff was up to the challenge. “You don’t want to get bored as curators,” he said.
David C. Ward
Ward, who is a walking encyclopedia on presidential history, led a press tour through the temporary exhibition on March 23 before it opened to the public. Besides sharing insights and anecdotes about each president, Ward explained the complexities involved with structuring and maintaining such a popular exhibition. Each president, for example, has his portrait in the exhibition, no matter his place in history. “Franklin Pierce, a mediocre president, is given equal stature to Lincoln,” Ward said. “James Buchanan, considered the worst president, sat in office in the winter of 1860-1861, when the south seceded.” Although Lincoln was elected in November, he was not inaugurated until March, making Buchanan “the lamest of lame ducks.”
The passage of time often changes the public’s opinion of a president. Harry Truman, for example, was not well liked while he was in office. “Truman now gets high marks,” Ward said. “He is seen as a progressive Democrat who was also a straight shooter.” On the flip side, Andrew Jackson, popular while in office, is now vilified for his “belligerent masculinity,” and deplored as an “Indian killer.”
Theodore Roosevelt, who was governor of New York, was distrusted by the party leadership who wanted him out of the state. “They made him vice president for William McKinley,” said Ward. Of course, after McKinley was assassinated, Roosevelt became the nation’s 26th president. “You think history is orderly, but often it is based on caprice and contingency,” Ward noted.
While many of the portraits in the exhibition are part of the museum’s collection, others are borrowed from other institutions or on loan from private collectors. Sometimes the right portrait of a president just isn’t available. After the museum received a letter objecting to Dwight Eisenhower’s portrait that showed him in a military uniform, the museum had to search for a replacement. The one now on display came from Susan Eisenhower, a granddaughter, and shows the former president in a blue business suit.
The White House selected Robert Anderson, one of George W. Bush’s Yale classmates, to create the portrait of the 43rd president. The painting shows Bush in an open neck blue shirt relaxing at Camp David. Not all presidents are pleased with the results of the artist’s efforts. Lyndon B. Johnson called his portrait by Peter Hurd “the ugliest thing I ever saw.” That painting, meant to be Johnson’s official White House likeness, now hangs in the National Portrait Gallery.
And not all artists like their subjects. That was the case with Norman Rockwell who was charged with painting Richard Nixon. According to Ward, Rockwell limited the time he had to spend with Nixon by substituting a friend’s hand for that of the 37th president.
When “America’s Presidents” reopens on September 22, Gilbert Stuart’s “Lansdowne” portrait of George Washington will be back on view, according to Brandon Fortune, chief curator, National Portrait Gallery. In the temporary space, another Stuart portrait of Washington is on view, showing the first president in the black velvet suit he wore on formal public occasions. Fortune said the portrait shows Washington “at his most human.” She also singled out Abraham Lincoln’s portrait by George Peter Alexander Healy which depicts the 16th president in a contemplative pose.
When the newly refurbished gallery opens on September 22, the space will boast improved graphics and lighting. Interactive touch screens will allow visitors to explore each presidency. There will also be a new website and a new edition of the museum’s book of presidential imagery.
Chances are the museum’s most popular exhibition will be even more popular come September.
If I could wrap you up in ribbons;
And top you off with bows:
I’d thank you for your beauty;
And relieving us of woes.
You see, you’re tied up with my heart strings;
Tied up in my past;
You brought us back America–
From a death I feared might last.
I’d thank you for your kindness;
And what you each beseeched.
And finally a President,
That couldn’t be impeached.
I’d thank you for your conscience;
You did all that you could.
And I hope to God the next one,
Does just what he should.
I’d thank you for your insight:
We’re one big family,
While trying hard to show us,
That we’re the ones who lead
Our country into greatness;
Our world to greater peace;
And in the storm of change we’ll see
Exactly what that means.
I’d thank our lovely FLOTUS:
A blossom grown from grace.
Then thank your lovely children
Who gave our youth a face:
To lead us going forward;
Every woman; every man.
To remind us, live with courage,
Knowing: YES WE CAN.
Bigstock Top Photo: President Barack Obama – Michelle Obama greets fans after his Inauguration in Washington, D.C. on 20th January 2013.
Oliver Stone’s films are not just entertainment; they are political statements. His new film, Snowden, focuses on the former CIA employee and government contractor who leaked information about widespread global surveillance by the U.S. government. The film is a sympathetic portrait of a whistleblower. And while many believe that Edward Snowden should face prosecution, others have lauded his actions. In June, 2015, President Obama signed the USA Freedom Act, which sets some limits on what telecommunication data intelligence agencies may collect on U.S. citizens, a law that might not have happened, some say, without Snowden’s disclosures.
Snowden, viewed in the closing moments of the movie, seems to be taking advantage of any positive feelings that may result from Stone’s film. As Barack Obama heads into the final months of his administration, a time when many presidents issue pardons, Snowden is asking for one. In statements made to The Guardian, the British newspaper that first broke the story, Snowden called what he did “vital,” and “moral.” Snowden, who first fled to Hong Kong, has been living in Moscow. While White House Press Secretary Josh Earnest has said that Snowden would face charges if he returned, former Attorney General Eric Holder in May said that Snowden had performed a “public service” by sparking a debate about surveillance. Stone’s film seems perfectly timed to continue that conversation.
While Joseph Gordon-Levitt has been acting since he was a child and has appeared in dozens of films and TV shows, he will be a new discovery to many theater goers who will turn out to see him as Snowden. That low profile allows him to disappear into the role. He bears a physical resemblance to the title character, but it’s his performance that serves as the core of the film. He allows us to see his transformation, from an ardent patriot who believes the U.S. is the greatest country in the world (he’s asked that question in numerous polygraph tests along the way), to a disillusioned patriot who believes that post-9/11 the country has gone too far, sweeping up “metadata” on its citizens. At one point, he resigns from the CIA, so concerned about what he sees happening. But before too long, he’s back in and what he learns the second time around leads him to take action.
Snowden was a high school drop out who never graduated from college. (He earned a GED and took classes at a community college.) After 9/11, he enlisted in the Army, hoping to become Special Forces. A broken leg revealed more serious health problems and he was discharged. Looking for another way to serve his country, he applied to the CIA. When agency heavyweight Corbin O’Brian (Rhys Ifans) asks Snowden why he wants to join the CIA, he responds that it would be cool to have such a high security clearance. O’Brian is nonplussed by the answer, but he recognizes Snowden’s talents and hires him. The two become close but their relationship will be tested again and again.
Joseph Gordon-Levitt and Shailene Woodley
Shailene Woodley plays Snowden’s long-suffering girlfriend Lindsay Mills. Although they meet on a site called Geek-Mate, Lindsay is a photographer, not a techie. She’s also liberal, while Snowden still defends the Bush Administration. His security clearance prevents him from sharing anything about his work with Lindsay. As he becomes aware of just how far surveillance has gone, his moves to protect their privacy – covering up the camera on her computer with tape, claiming that their home is being bugged – come across to her as extreme paranoia. Yet she remains loyal and follows him to Tokyo and Hawaii. (In the closing credits we learn that Lindsay has moved to Moscow to be with Snowden.)
Melissa Leo, Joseph Gordon-Levitt, Tom Wilkinson, and Zachary Quinto
The film toggles back and forth between Poitras’ interview with Snowden in a Hong Kong hotel room, and scenes from Snowden’s past while he was climbing the intelligence ladder. Melissa Leo plays Laura Poitras, who directed and produced Citizenfour, the Oscar-winning documentary about Snowden and Zachary Quinto plays Glenn Greenwald, the journalist who interviewed Snowden with Poitras’ camera running. There’s a claustrophobic feel to those hotel scenes, the tension building as the authorities threaten to close in. Once the Guardian story appears (according to the film, the outcome was never assured with Greenwald pushing his London editor, Janine Gibson played by Joely Richardson, to get it done) the hotel is overrun with journalists. Snowden manages to escape, hiding out for days in rundown sections of the city, eventually making it to Moscow.
Stone hasn’t had a high profile film in years. Snowden should put him back on the map.
Snowden opens nationwide September 16, 2016. Photos Courtesy of Open Road Pictures
When Arena Stage’s Artistic Director Molly Smith saw Anthony Giardina’s The City of Conversation at Lincoln Center, she was eager to have it produced in the nation’s capital. And why not? Washington is the city where these conversations once occurred in the homes of D.C.’s hostesses (think Susan Alsop and Kay Graham) who played a pivotal role in bringing together opposing sides at elegant parties. Back then, after-dinner arguments may have become heated, but the rivals continued to break bread together, even stayed friends. When the play premiered in New York, in June, 2014, Donald Trump’s candidacy was a year away. In the current campaign climate, one can’t imagine Trump, or any of his opponents, remaining civil while sharing a meal. This old social order did exist at one time, however, and our country was the better for it.
Michael Simpson and Margaret Colin
The play opens in the fall of 1979 and is set in the Georgetown townhouse of liberal-leaning Hester Ferris (Margaret Colin). This evening Hester’s guests are Kentucky Senator George Mallonnee (Todd Scofield), and his wife, Carolyn (Jjana Valentiner). On Hester’s agenda are two items: the passage of a Ted Kennedy sponsored bill that would help the Massachusetts senator’s presidential bid, and the career advancement of her live-in lover, Chandler Harris (Tom Wiggin).
Hester’s widowed sister, Jean Swift (Ann McDonough, in an excellent performance) supports her sibling’s causes and helps plan the get togethers, while never attending herself. Throughout the play, Jean serves as a reality check for Hester, often delivering advice and warnings in droll one-liners that never fail to produce laughs.
Hester’s son, Colin (Michael Simpson), arrives home from abroad earlier than expected. Hester is thrilled, not only to see him, but also with the prospect of presenting a united familial front to woo the reluctant senator over to her side. Her plans are dashed, however, when she witnesses her son’s turn to the dark side, egged on by his girlfriend, Anna Fitzgerald (Caroline Hewitt). The two have just graduated from the London School of Economics, and Colin has returned a changed man, rejecting liberal opinions once embraced. Anna dispenses with any social niceties and plunges right in, criticizing everything Hester stands for and Colin once believed in. For her part, Hester looks with distain at Anna’s disheveled appearance and offers to lend her a black cocktail dress for the evening’s festivities. Anna accepts the dress, but not the idea that she should tone down her behavior. Joining the men for brandy and cigars and espousing her conservative views, she soon has the senator and his wife eating out of her hand – not what Hester had hoped for. What really stings, though, is Colin’s strident rejection of his mother’s ideals in front of the senator.
Margaret Colin and Tyler Smallwood
We flash forward for Act Two, finding ourselves smack in the middle of the Reagan years. Hester is now babysitting for her grandson, Ethan (Tyler Smallwood), who playfully bounces a rubber ball around the living room and asks to watch Cinderella on video. (There are jokes about using the VCR – remember those?) Hester’s love for her grandson is genuine and heartfelt. And like with Colin, she can’t resist sharing with Ethan her political views, something her son and Anna constantly complain about. This time around, Hester’s out to defeat Robert Bork’s nomination to the U.S. Supreme Court. She and Jean have fashioned a letter that will run as an advertisement in newspapers where senators are still undecided about how they will vote. When Anna arrives to pick up Ethan, Hester scrambles to hide the letter, anticipating her daughter-in-law’s reaction. In contrast to the affection that Hester displays with Ethan, Anna remains all business. She’s left her bohemian look behind in favor of a severe dark blue suit in keeping with her position at the Justice Department, and she can’t seem to get out of business mode to cuddle her son.
Colin’s appearance has changed, too. His youthful bushy hair is now slicked back, Gordon Gekko style and he sports a ridiculous looking mustache. While Anna is supporting Bork’s nomination to the court, Colin is the one who has everything to lose if the effort fails. The New Hampshire senator Colin works for has gone all out to back Bork and could lose his seat. If the nomination is defeated and Hester’s role revealed, her son could lose his job. Anna finds the letter, confronts Hester, and delivers an ultimatum. Where do Hester’s emotions lie? With her son or with her politics? We learn the answers in the last scene, when we are transported to 2008, the evening of Barack Obama’s inauguration.
Caroline Hewitt, Margaret Colin, and Michael Simpson
Giardina has written an intelligent play with smart dialogue. The zingers oftentimes fly so fast it’s hard to keep up. This cast is up for the challenge. Brooklyn-born Margaret Colin is terrific as Hester, showing fierceness when defending her point of view, but warmth when watching over Ethan. Caroline Hewitt taps into Anna’s raw ambition. Because we all know someone like Anna as a fellow student, co-worker, or boss, the performance grates. Unlike with Hester, we never see a softer side to Anna, a hint of what Colin might have seen in her when he fell in love and married her. Michael Simpson’s Colin seems energized at the beginning of the play when he and Anna are a team confronting Hester. Yet by the second act, Colin seems defeated, resigned to his fate, having traded one strong-willed woman for another. He seems exhausted and beaten down, and Simpson allows us to see his despair.
Staging the play in the Fichlander, brings the audience into the action. The production team from Lincoln Center – Director Doug Hughes, Set Designer John Lee Beatty, Costumer Designer Catherine Zuber, and Lighting Designer Tyler Micoleau – have worked their magic here, too.
While The City of Conversation places politics front and center, the play is really about family. We are expected to teach our children values and share our ideas with them, but at some point those children grow up and develop opinions of their own. One can only imagine the dinnertime conversations going on these days, if not in Georgetown townhouses, at tables around the country as young and old make decisions about the upcoming presidential election.
Photos by C. Stanley Photography:
Opening: Tom Wiggin, Margaret Colin, Caroline Hewitt, Todd Scofield, and Jjana Valentiner
The City of Conversation Fichlander Theater Arena Stage 1011 Sixth Street, SW 202-488-3000