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.
In 2002, former ambassador Joseph C. Wilson was sent to the the African nation of Niger to assess whether Iraq was buying uranium ore to build nuclear weapons. Wilson’s investigation found no such evidence, but in the 2003 State of the Union address, President George W. Bush said, “The British government has learned that Saddam Hussein recently sought significant quantities of uranium from Africa.” Four months after, the U.S. invaded Iraq, basing that military operation on the erroneous information that Saddam had “weapons of mass destruction.” Wilson wrote an op-ed piece for the New York Times titled, “What I Didn’t Find in Africa,” basically accusing the Bush Administration of lying to justify the war.
Retaliation against Wilson zeroed in on his wife, Valerie Plame, a career CIA operative whose identity was leaked to the press by members of the Bush Administration and first published in the Washington Post by conservative columnist Robert Novak. Plame’s outing effectively ended her career and also placed any assets she had worked with in danger. Although Plame did not send her husband to Niger, she also was held responsible for that decision, bringing about charges of nepotism.
Hannah Yelland and Aakhu Tuahnera Freeman
Jacqueline E. Lawton’s aptly titled Intelligence, now playing at Arena Stage, purports to tell Plame’s story. First commissioned in 2015 as part of Arena’s Power Play initiative, Lawton’s work is well-timed. Intelligence leaks are in the news, but as Intelligence shows, those leaks are not new. In a tight and tense 90-minutes, Intelligence imagines Plame’s double life – on one hand, an undercover CIA operative, and on the other, a wife to Wilson and mother to their three-year old twins.
In Playwright’s Notes included in the program, Lawton said that she writes “out of a deep frustration for the lack of strong, complex and engaging roles for women in the American theater.” She was drawn to Plame’s story about a woman “fighting to ensure the national security of the United States.” Intelligence is directed by Daniella Topol, artistic director of Rattlestick Playwrights Theater in New York.
In Arena’s Kogod Cradle, Misha Kachman’s set design, dominated by dark gray moveable walls, creates the perfect backdrop for clandestine activities. On the left side of the stage, couches and a coffee table represent the more intimate and comfortable Wilson/Plame living room. The columns also work as screens where video scenes from 9/11 are played, along with snippets of speeches made by President Bush and Vice President Dick Cheney.
Ethan Hova, Nora Achrati, and Hannah Yelland
Working for the CIA’s counter-proliferation division, Plame (a passionate performance by Hannah Yelland, who also resembles Plame) is investigating whether Iraq is amassing weapons. The importance of her mission cannot be understated. Not only will her findings produce valuable evidence that may or may not result in the U.S. attacking Iraq, but any assets who provide that information might be targeted for death. Intelligence is a fictionalized account of what might have transpired as Plame went about her duties.
Dr. Malik Nazari (a searing performance by Ethan Hova), representing one of Plame’s assets, is an Iraqi who once tested chemical weapons for Saddam’s regime. Often the most unpleasant part of a CIA agent’s job is pressuring, even blackmailing, those who are innocent. Leyla Nazari (Nora Achrati) Malik’s niece, is a dress designer who makes frequent trips to Jordan. Plame coming to Leyla’s shop, ostensibly to pick up a scarf, threatens to turn over information about those trips to the government unless Leyla convinces her uncle to meet with her.
Nazari agrees to the meeting, in the coffee shop he now runs. Now out of Iraq, he’s still wracked with guilt over testing chemical weapons on prisoners and others who were unable to defend themselves. He agrees to go back to Iraq to gather information, not for Plame or the U.S., but for his people, he tells her. Plame promises to go with him to Iraq, but is ordered not to do so by her supervisor, Elaine Matthews (Aakhu Tuahnera Freeman). That won’t be the only promise Plame is forced to break. After she’s outed, she’s barred from the CIA (on her next visit, she’s given a visitor pass), and is unable to contact or protect Nazari or Leyla.
Hannah Yelland and Lawrence Redmond
Plame’s situation takes a toll on her at home, too. While her husband (Lawrence Redmond) is depicted here as being less than supportive about her job, complaining when she has to work late or travel (she’s a CIA operative!), he also doesn’t stop to think about what effect his Times column might have on her career. Seeing her name in print in Novak’s story, Plame lashes out at him, pointing out that he has placed her and the children in danger. (In real life, Plame and Wilson eventually relocated from Washington, D.C. to New Mexico, after receiving death threats.)
Never before has gathering intelligence been more important. And never before have these dedicated people who place their lives on the line every day to perform these duties come under such unrelenting attack. Intelligence is a cautionary tale that we have to do better, recruiting the best and brightest for these challenging assignments and then giving them the tools and the support they need to succeed in their missions to keep America safe.
Photos by C. Stanley Photography
Intelligence Written by Jacqueline E. Lawton Directed by Daniella Topol Kogod Cradle Arena Stage Extended through April 9, 2017
When I was 60 years old, after many years of running and one New York City Marathon, I made the decision to have my knees replaced. Yes, both of them at the same time. It was a good move. The operation and rehab went well and after six months, I was able to resume most of my regular activities, except for running. I believed my doctor that my quality of life would be very much improved.
Except for one thing. Whenever I go through airport security, I am subjected to a through and humiliating pat-down. But guess what, America? I will no longer be alone. Because TSA agents have a 98 percent failure rate detecting weapons being brought on planes (these tests were executed by the Department of Homeland Security), the agency’s response is to make the rest of us suffer. It doesn’t matter that these weapons – guns, machetes, nunchucks, hand grenades, uzis, whatever – were hidden in carry on bags, not on people, pat-downs are supposedly going to make all of us safer.
Any reasonable person can see the fallacy in this argument. But the TSA has never been known for taking the reasonable route. The agency opts for headlines that will make the vast majority of Americans believe it has their welfare at heart. There’s no mention that carry ons will be more diligently screened, just passengers. And make no mistake, these new pat-down procedures will be “comprehensive.”
The change in TSA pat-downs is apparently so extreme, that airport security and police departments have been alerted, according to a report from Bloomberg. “Due to this change, TSA asked FSDs [field security directors] to contact airport law enforcement and brief them on the procedures in case they are notified that a passenger believes a [TSA employee] has subjected them to an abnormal screening practice,” ACI (Airport Council International) wrote.
These new procedures are not new to me. I have had to endure these invasive pat-downs since my knee replacements. So, in case you’re wondering, I thought I would give you a preview of what you have to look forward to, whether you are planning a spring or summer vacation, when you will be one of millions being subjected to these new more thorough pat-down procedures.
I have a Global Entry card which, I had hoped, would cut me some slack. Being in a group that has been pre-screened means I don’t have to take off my coat or shoes or remove my laptop from my bag when going through security. But it doesn’t give me a pass on pat-downs.
After I go through the TSA check-in line at security, I place my belongings on the conveyer belt and then walk through the metal detector. The alarms go off and I explain that I have knee replacements. Then a female agent is called over to do the pat-down. I’m often asked if I want to do the pat-down in private. But if I’m alone, I worry about my belongings staying in the area without anyone watching them. (I’ve seen numerous TV programs where TSA agents and passengers walk off with electronic equipment, etc.) So I agree to the pat-down in the open. It rarely goes well. The TSA agent, perhaps sensing my disapproval, is usually sullen and aggressive. She makes a point of telling me that she’s using the back of her hands, as if that makes this invasion of my privacy OK. On one occasion, the woman’s hands, after feeling around my breast area, moved to my groin. I steeled myself not to cry, but did not succeed.
By the time I was cleared and rejoined my husband, I was sobbing. He tried his best to comfort me, but he was angry. I didn’t want him to create a scene, so I pulled it together and we walked to the gate. It took me the entire plane ride, five hours-plus, for me to calm down. But, of course, I knew that I would have to endure a repeat of the process on the way back.
For the record, agents in New York, whether at LaGuardia or JFK, are the most difficult to deal with. The agents at Reagan National in D.C. are a close second. (One can only imagine how busy the NYPD will be once these pat-downs get underway.) The TSA agents I have encountered in San Francisco, Las Vegas, and many other U.S. cities, are more empathetic, perhaps because those airports receive less traffic and are less in the spotlight. Or maybe people in these cities are just nicer. Who knows?
I understand that Homeland Security and the TSA have a job to do. We all want to be safe when we fly. No one wants another 9/11 or to be sitting next to the shoe bomber. We also want to avoid profiling, singling out people deemed to be a threat because of how they look, their religion, or where they live. But there has to be a better way to keep all of us safe and not have some passengers (like me) feel traumatized each and every time they fly.
The studio’s live action remake, with a superbly talented cast, breath-taking sets, lavish costumes, and special effects that enhance rather than detract, surpasses the original 1991 animated classic. With the previous film, as well as the stage version, in the rear view mirror, and with La La Land whetting the public’s appetite for more musical films, Beauty and the Beast’s timing couldn’t be better.
Dan Stevens as the Beast
Director Bill Condon leads a production team that manages to do everything right. Condon, whose film adaptation of the Broadway hit Dreamgirls, won two Academy Awards and three Golden Globes, also knows his way around a script. He won an Academy Award for Best Adapted Screenplay for Gods and Monsters which he also directed. The screenplay by Stephen Chbosky and Evan Spiliotopoulos builds on the original, filling in some of the backstory about Belle and the Prince/Beast. The score with music by Alan Menken and lyrics by Tim Rice, retains the songs in the animated version, while eliminating some from the stage version, and adding several that serve to advance the story in key moments.
Emma Watson as Belle and Luke Evans as Gaston
The cast, many of whom had worked with Condon before, trusted his vision and were eager to sign on for this mission. Emma Watson, known to younger audiences as Hermione Granger in the Harry Potter films, is radiant as Belle, projecting the heroine’s intelligence and kindness, but also her bravery when faced with danger. Her face lights up the screen and her singing voice projects a sweet innocence which befits her character.
Dan Stevens, the doomed Downton Abbey heir, might seem an odd choice to play the Prince who, because of his selfishness, is turned into the Beast by an enchantress. Yet he attacks (in some scenes quite literally), the role with relish. While the Beast is a fully digital character (according to the press notes the actor wore stilts and a prosthetics muscle suit with a grey bodysuit during filming), Stevens was determined to display the fine line between man and beast, striving to make his live action character “more dimensional than the Beast from the animated film.” He succeeds, revealing the human trapped inside a horrible-looking animal, particularly when singing the lament “Evermore,” a new addition to the score.
Kevin Kline as Maurice and Emma Watson as Belle
Belle’s father has evolved from the zany inventor in the animated version to an artist who creates beautiful, ornate music boxes. Kevin Kline’s mere presence adds depth to any scene he’s in. His Maurice projects a father’s love, but beneath the surface there’s a sadness about the past. (Through the magic of a mirror, the Beast takes Belle back to her life in Paris and she understands the secrets Maurice holds in his heart.) Kline’s Maurice is not without humor, especially when he encounters some of the talking objects in the Beast’s castle, and he delivers a stirring “How Does a Moment Last Forever,” another new song.
Josh Gad as LeFou and Luke Evans as Gaston
Gaston’s resume has been beefed up, transforming him into a war hero who saved Villenueve, the fictional French village, from invaders. What hasn’t been altered is Gaston’s quick-trigger temper, his oversized ego, and his inability to accept Belle’s refusal to marry him. Welsh actor Luke Evans brings his stage presence and booming baritone to the “role he was born to play,” according to Condon. Paired with Josh Gad as Gaston’s sidekick LeFou, Evans takes advantage of Gad’s impeccable comic timing to make the interaction between the two fun to watch. (There’s been much pre-publicity – both positive and negative – about LeFou’s obvious attraction to the manly Gaston.)
The Castle Objects
Those who signed on as the humans doomed to live as various objects in the Beast’s castle until the spell is broken, include a mind-boggling group of A-list actors. For most of the film, they are voicing the characters, but they are seen briefly in the beginning and finally emerge in the flesh at the end. They include: Ewan McGregor as Lumière, the candlestick holder; Stanley Tucci as Cadenza, a harpsichord; Audra McDonald, as Madame de Garderobe the wardrobe; Gugu Mbatha-Raw, as Plumette, the feather duster; Ian McKellen, as the clock, Cogsworth; Emma Thompson as the teakettle, Mrs. Potts; and Nathan Mack as the teacup, Chip. Hattie Morahan who lurks around the village as the homeless woman, Agatha, is actually the Enchantress who casts the spell on the Prince.
Production Designer Sarah Greenwood, responsible for the visual aspect of the film, led a team of more than 1,000 crew members who worked to create the sets that would mimic those in the animated film. These sets built on the backlot at Shepperton Studios outside London, include: the fictional town of Villeneuve; the castle’s ballroom, with a floor made from 12,000 square feet of faux marble; Belle’s bedroom; and the castle’s library holding thousands of books created specifically for the production. The largest set – 9,600 square feet – is the forest surrounding the castle which included real trees, hedges, a frozen lake, a set of 29-foot high ice gates, and about 20,000 icicles.
Ballroom
Costumes are period perfect and eye-catching. Designer Jacqueline Durran’s team, made up of embroiders, milliners, jewelers, painters, and textile artists, worked for three months before filming began. That lead time was necessary since Durran wanted to create sustainable costumes from fair-trade fabrics. The greatest challenge was designing that iconic yellow dress that Belle wears when dancing with the Beast in the castle’s ballroom. Made from 180 feet of feather-light satin organza, the dress used up 3,000 feet of thread. All that attention to detail pays off. Belle’s gown glows in that dance number, a high point in a film with many high points.
In a cynical world, the “tale as old as time,” never gets old. Disney’s new version continues that legacy.
Photos courtesy of Walt Disney Studios
Beauty and the Beast opens nationwide on March 17, 2017.
The Select is not everyone’s cup of tea (or, more accurately, shot of whisky). The Elevator Repair Company, the group responsible for Gatz, an afternoon and evening marathon reading of The Great Gatsby, has followed up with a production of Ernest Hemingway’s masterwork that, after touring cities in the U.S, and Europe, opened in 2011 at the New York Theater Workshop. Now playing through April 2 at the Shakespeare Theatre Company’s Lansburgh Theatre, The Select focuses on American and British expatriates living in France and Spain in the aftermath of World War I.
Susie Sokol as Pedro Romero
In program notes, Director John Collins said that condensing Hemingway’s 260-page novel proved to be challenging. The play clocks in at around two and a half hours, and while there’s plenty of action – several lively dance sequences and a thrilling bull fight, ingeniously staged with a rolling table equipped with horns – the play is heavy on dialogue. But this is Hemingway, after all, and audience members who stay the course are rewarded with a theatrical event that is unique and inspiring. Those who have never read Hemingway, or have long forgotten his emphasis on simple prose, may find themselves on Amazon. His characters truly have stood the test of time and, brought to life on stage, prove to be as intriguing and complex as they are on the page.
The play’s narrator is Jake Barnes (a strong performance by Mike Iveson), who was injured in the war and is now impotent. He’s in love with Brett Ashley (Stephanie Hayes), who loves him, but, also loving sex, knows their relationship will never be consummated. Jake, however, is not the only one in love with Brett. In fact, virtually every many who comes into contact with her cannot resist her sexual appeal. And that’s a problem for this close knit group of friends, leading to arguments, breakdowns, and fist fights. All of this passion is fueled with copious amounts of alcohol. David Zinn’s set, meant to resemble a cafe in Paris or Spain, is dominated with bottles lining the shelves above the bar, and glasses filled with colorful liquids set up like marching soldiers on two long wooden tables. The actors are rarely without a glass or bottle in their hands. Sound designer Matt Tierney provides the special effects of liquor being poured and Champagne corks being popped.
Kate Scelsa as Frances, John Collins as Robert Cohn and Mike Iveson as Jake Barnes
Jake wears many hats – host, confidante, mediator, spectator, and good friend. When the play opens, he’s attempting to console Frances (Kate Scelsa), who is engaged to Jake’s Princeton classmate, Robert Cohn (played by Collins), but can’t get him to the altar. A Jew, Cohn never felt accepted at Princeton or among the group he’s with in Europe. His marriage to Frances doesn’t come off and his dalliance with Brett also proves to be a disaster. Brett is soon engaged to Mike (Paul Boocock), but then, intrigued with the spectacle of bullfighting, takes off with the 19 year-old matador, Pedro Romero (Susie Sokol). Finding herself alone and broke in San Sebastían, Brett sends a telegram to Jake, and he, of course, comes to rescue her.
Stephanie Hayes as Brett Ashley and Mike Iveson as Jake Barnes
Hayes’ performance as a femme fatale is brilliant. There’s no slinking around or bending over to flash cleavage. Her sexual appeal is more subtle, helped along by her appealing British accent. While a male magnet, the one thing she can’t attract is happiness. Jake and Brett are made for one another, but will never be happy together, a tragedy for both of them.
Hemingway meant The Sun Also Rises as a comment on the post World War I generation that many saw as being the “Lost Generation,” a term coined by Gertrude Stein. Hemingway scholars feel that the author was more optimistic, seeing these young people as possibly scarred, but still hopeful. Certainly that description might apply to many post-war generations.
Photos by Scott Suchman
The Select (The Sun Also Rises) Elevator Repair Services Lansburgh Theatre Shakespeare Theatre Comopany 450 7th Street NW 202-547-1122 Through April 2, 2017
Jaleo located next door to the Lansburgh Theatre is offering a pre-theatre tasting menu in honor of The Select (The Sun Also Rises). The menu features three courses that bring alive the spirit and flavors of Spain at only $30 per person. Ask for “The Select” menu upon arrival or when making your reservation. Available Sunday–Thursday 5-6:30 p.m.
Their romance begins innocently enough. Ruth Williams (Rosamund Pike) and her sister, Muriel (Laura Carmichael, Edith from Downton Abbey), attend an event at the London Society Mission, where they dance with foreigners who are attending colleges in England. Ruth exchanges glances with one of the students, Seretse Khama (David Oyelowo), and soon they are dancing and talking about their mutual love of jazz. Although not the jazz played by Brits, Ruth jokes. The relationship continues. They share 78 LPs, dance at other venues, and take long moonlit walks.
Seretse is not a regular student, but a king, in line to ascend to the throne in the African country Bechuanaland. When he shares his status with Ruth, she takes the news as a sign that their romance is over. Instead Seretse proposes, bending down on one knee, the blinking lights along the River Thames providing the perfect romantic backdrop. He tells her to think about it, stressing that her life will drastically change. She’s made up her mind, however, and accepts on the spot.
The opposition begins to line up. Ruth’s father, George (Nicholas Lyndhurst), is outraged, telling Ruth she will bring shame to the family. If she goes ahead with the marriage, he says, he won’t see her again. Equally furious about the impeding union is Seretse’s uncle, Tshekedi Khama (Vusi Kunene), the regent of the Bangwatho Kingdom, who has raised his nephew since the death of his parents. Taking a white woman as his queen, the uncle emphasizes to his nephew, will endanger his reign and throw the country into turmoil.
The most strident voice against the marriage comes from the British government, since Bechuanaland is a protectorate under British control. By 1931, South Africa was no longer part of the British Empire, but because of that country’s mineral resources, maintaining economic ties remained important to Britain. In 1948, the South African government’s National Party instituted the segregation policy that became known as apartheid and put pressure on the British government to prevent an interracial royal marriage in Bechuanaland, its neighbor to the north.
Love wins out and the couple, accompanied by Ruth’s sister and some of Seretse’s friends, ties the knot in a small ceremony. Soon they are on a plane to Africa, Ruth thrilled by the scenes below of widebeasts and giraffes fleeing across the terrain. On the ground, the couple is angrily confronted by Tshekedi, his wife, Ella (Abena Ayivor), and Seretse’s sister, Naledi (Terry Pheto). While Tshekedi’s attack is aimed at his nephew, the two women target Ruth, telling her she will never be accepted by them or by anyone in Bechuanaland.
But with the people assembled, Seretse delivers a heartfelt speech, emphasizing that he loves his country, his people, but also his wife and cannot rule without her. (Those watching The Crown on Netflix will no doubt recognize that argument from Edward, Duke of Windsor, who said he could not rule without Wallis Simpson by his side. He was forced to abdicate.) Seretse’s address succeeds in winning over his subjects, but his problems are not over. British government officials demand that Seretse come to London to settle the dispute between him and his uncle. Once in England, however, Seretse is forbidden to return to his country. Thus begins many years of struggle where Seretse and Ruth fight to be reunited and for him to assume his responsibilities.
Alistair Canning (Jack Davenport), the British government representative to Southern Africa, relishes giving bad news to Seretse, prolonging his suffering, even causing him to miss the birth of his daughter. The crisis becomes a political football in Parliament, with some opposing how Britain is interfering in African affairs for financial gain. The discovery of diamonds in Bechuanaland raises the stakes on all sides. Seretse wants to make sure his people profit from the mining of that resource.
The film is based on the true story of Seretse and Ruth. He went on to become the first elected president of the new country, Botswanna. Ruth won over her detractors, fighting for racial inequality and working for many charitable causes during her lifetime.
Directed by Amma Asante who also directed Belle, the film was shot in London and on location in Botswanna. The script is by Guy Hibbert adapted from the book Colour Bar by Susan Williams. Cinematography by Sam McCurdy, is spectacular.
Some of the supporting cast emerge as caricatures, particularly Davenport and Tom Fenton (bad boy Draco Malfoy in the Harry Potter films), who overdoes his role as a sinister British official. The two leads, however, are not only solid, but a joy to watch as their romance unfolds, hits speed bumps, and then triumphs. Oyelowo and Pike have real chemistry on screen, whether they are dancing in their bedroom, the music heard only faintly from another room, or talking on the phone, their separation exacting a toll.
As Ruth, Rosamund Pike silently absorbs the blows from her new in-laws, a sign not of weakness but of strength. She’s confident in the love she has for her husband, and in his love for her. Through her deeds – taking on labor-intensive work in the village, placing her trust in local doctors, and nursing her newborn daughter alongside village women – she slowly begins to win over even her fiercest enemies, particularly Seretse’s sister, Naledi. (A wonderful performance by Pheto.)
Oyelowo first demonstrated his skills at playing great orators in his performance as Martin Luther King, Jr. in Ava DuVernay’s Selma. This film takes advantage of that talent, giving him several moments where he displays his ability to engage those around him with his words. Yet in the more intimate scenes, whether making a stand against his uncle or taking in the bad news delivered by a supercilious government official, Oyelowo shows another side of Seretse, a leader who despairs that he may never get that chance to lead, not for his own glory, but to lift up his people. It’s an extraordinary performance.
You are a political refugee. We don’t turn back people like you, people in danger.
Theater audiences don’t usually burst into applause in the middle of a scene. But these aren’t usual times, and the line above, from Lillian Hellman’s 1941 Watch on the Rhine, certainly struck a nerve with those attending an opening night performance at Arena Stage in Washington, D.C. Hellman’s 76 year-old play may be about a different time in history, but the themes seem eerily fitting today.
The Fichandler Stage
Family matriarch, Fanny Farrelly (Marsha Mason), and her son, David (Thomas Keegan), live outside the nation’s capital, in a mansion watched over by two servants, Anise (Helen Hedman), and Joseph (Addison Switzer). Also in the house are two guests – Count Teck De Brancovis (J Anthony Crane) and his wife, Marthe (Natalia Payne). In the round Fichandler Stage, the gazebo-like living room designed by Todd Rosenthal is upscale yet warm and comfortable, a setting that reflects the inhabitants.
The household is preparing for a visit by Sara (Lisa Bruneau), Fanny’s daughter and David’s sister, who has been in Europe for 20 years. Sara arrives with her husband, Kurt Müller (a visceral performance by Andrew Long), and their three children, Joshua (Ethan Miller), Babette (Lucy Breedlove), and Bodo (Tyler Bowman).
Ethan Miller, Helen Hedman, Lise Bruneau, Andrew Long, and Lucy Breedlove
Fanny and David greet Sara warmly. Fanny not only is thrilled to have her daughter home, but excited to meet her grandchildren. She’s soon showering them with presents. David and Sara reminisce about their times growing up in the mansion. But their lives have taken far different paths. While Fanny and David have been living in a safe “bubble,” Sara and her family have been on the front lines in Germany, watching with horror the destruction wrought by Hitler. “The world has changed and some of the people in it are dangerous,” Sara says. “It’s time you knew that.” Kurt has not worked as an engineer since 1933 and instead risks his life fighting the rise of fascism. And that fight has followed him to America. He receives word that his compatriots in Germany are in trouble and he needs to return, along with the suitcase of money contributed by supporters of the cause, to help free them.
Like so many Americans during that time, Fanny and David fail to grasp the full import of what is happening in Europe. Seeing the danger through Sara’s and Kurt’s eyes brings things into focus. They fully support Kurt’s efforts, as evidenced by David’s declaration quoted above.
J Anthony Crane and Natalia Payne
The fly in the ointment is the count. De Brancovis is a desperate man. His marriage is ending (Marthe has fallen in love with David), and after spending nights gambling at the German embassy, he’s in serious debt. When he discovers Kurt’s identity and what’s in the suitcase, he sees an opportunity to repay the Farrelly’s hospitality with blackmail. He asks for what’s in the suitcase, as well as money from the Farrellys, to keep quiet. That demand will set into motion events that threaten everyone with deadly consequences.
Marsha Mason (photo byTony Powell)
Mason, once a high profile presence in 1970 romantic comedies, has talked about the difficulties older actresses face landing film roles. Her recent appearances on the small screen include guest spots on CBS’s The Good Wife and Madame Secretary, and Grace and Frankie on Netflix. She’s the high profile star in this production. Don’t miss the chance to see this professional at the top of her game. She commands attention, showing the many facets of Fanny’s personality as she morphs from the perfect hostess and caring mother into someone who is more flint than fluff, ready to protect those she loves and make a moral stand. “Well, we’ve been shaken out of the magnolias,” she says, the full impact of the situation hitting home.
Andrew Long and Thomas Keegan
Director Jackie Maxwell brings her magic touch to an excellent supporting cast. Long’s performance is riveting. While Kurt loves his wife and children, standing up against fascism is a battle he fights for them. Long balances both sides of Kurt’s character, gentle with his wife and children one moment, lashing out against the count in another. As brave as Kurt is, it’s Bruneau’s Sara who stands out as the courageous one. Once Kurt leaves on his rescue mission, however, she laments what her life will be like without him. The three young actors, playing characters who have had to grow up much too soon, also display maturity beyond their years. These are three young people to watch.
Keegan’s David is the ballast steadying the family. Without his unconditional love and support, Kurt and Sara might have been left to fend for themselves. Besides turning in a strong performance, Keegan serves as the play’s fight captain, staging a scene that is both exciting and startling.
Crane’s evil count brings to mind other villains, mostly from films, who were never true believers but supported fascism for their own selfish reasons. These many years later, Hellman’s play still resonates.
Photos by C. Stanley Photography
Watch on the Rhine Fichandler Stage Arena Stage 1101 Sixth Street, SW Through March 5, 2017
Pity the poor chicken. It gets a bad rap in the U.S. It’s been relegated to fast food status with chicken nuggets, Colonel Sanders, and Boston Market. These take out options may be filling and satisfying for many, but those seeking a higher quality meal often find that even chicken dishes in restaurants are disappointing. Why bother? Better to prepare chicken at home and order steak or fish when dining out.
Leave it to the French to solve the problem. Chef Antoine Westerman, whose restaurant in Strassbourg, Le Buerehiesel, celebrated the cuisine from his native Alsace, moved to Paris and opened Coq Rico, which won rave reviews from the critics and a loyal following. Last spring, Westerman opened Le Coq Rico, in New York’s Flatiron District and now chicken lovers have a new place to dine. We decided to visit for an early dinner on Sunday and were not surprised to find the restaurant fully booked.
Le Coq Rico’s upscale decor emphasizes that this “bistro of beautiful birds” is on a mission to elevate the lowly chicken to another level. Subdued lighting creates an intimate feeling. Colors are also low key with white walls and ceilings, gray banquettes, and black tables. Whimsical touches – framed squares of white feathers on the walls, and eggs on shelves outside the restrooms, accentuate the chicken theme.
Unfortunately, we were only two people, so didn’t order one of the restaurant’s whole birds. (Next time, we will definitely come with a group.) We did, however, watch other tables enjoy an entire chicken. On the menu, these are listed by breeds and the number of days they enjoyed farm life before being “harvested.” (Servers avoid using the term “slaughter.”) The choices also differ depending upon availability. Possible choices include: Brune Landaise (110 days); Plymouth Barred Rock (90 days); New Hampshire (120 days); Rhode Island (120 days); and the Catskill Guinea Fowl (130 days).
Fortunately, there are other choices for those dining as a pair or solo. (A bar overlooking the kitchen is a favorite place to perch for single patrons.) We began with the Offal Platter (above), which included a liver, apple and heart brochette, glaced wings, roast chicken liver on horseradish toast, and spiced croquettes. Don’t be put off by the description of these ingredients as “offal,” defined as “waste,” “byproduct,” and, in general, parts of the animal many consider inedible. Trust Westerman to transform this appetizer into something not only edible but quite incredible. Each item was unique in taste and texture. Presentation added to the appeal of the dish.
For our main course, we shared the stuffed Brune Landaise Chicken for Two, served with sautéed pumpkins and spinach. Our server correctly described the dish as a chicken breast with stuffing. Truth be told, this earthy bird and its accompaniments reminded us of Thanksgiving dinner. This was a dish we would order again. A green side salad was all that was needed to complement this entrée.
With our meal we enjoyed several glasses of wine: a rosé, Domaine de Grangeneuve Grignan-Lès-Admémar; a California Charnonnay; and Cabernet/Merlot, Château Fourcas Dupré.
For dessert, we went with L’Ile Flottante, a soft meringue with red praline and creme anglaise. This floating dessert was light and refreshing.
Service throughout our meal was polite and professional. The sommelière told us that many members of the staff had come from the Paris restaurant. Their enthusiasm for Le Coq Rico was apparent. And from everything we saw and experienced, that enthusiasm is spreading. Le Coq Rico has landed in New York at just the right time.
Jai Williams and Charlene Giannetti spent six months visiting 40 plantations in Virginia, taking tours and talking with the families and the professionals tasked with caring for these historic properties. Their new book, Plantations of Virginia, has just been published by Globe Pequot Press. Virginia has produced eight presidents and three of those – George Washington, Thomas Jefferson, and James Madison – were Founding Fathers whose leadership and inspiration were critical to the birth and success of the new country. Their homes, Mount Vernon, Monticello, and Montpelier, remain the crown jewels and should be experienced by every American for their historic value.
But there are many other plantations worth a visit, including the grand mansions located along the James River. Like so many other areas of the country, Virginia has become focused on preserving its history, which, in many cases, involves saving and restoring these homes and surrounding grounds. These “works in progress” have fascinating stories to tell.
Jai and Charlene talk about what became for them a transformative journey, researching and writing Plantations of Virginia.
How did the two of you come together to write this book?
Charlene: About five years ago, my husband and I began dividing our time between New York City and Alexandria, Virginia. Although we had lived in Washington, D.C. in the 70s, we hadn’t spent much time in Virginia. So we began to explore Virginia’s history and a great deal of that history, particularly about the Civil War, can be discovered by visiting plantations. Our country continues to grapple with slavery’s legacy and that issue certainly played out in the state’s plantations.
Jai: I’ve lived in Virginia for quite awhile now and you are subconsciously immersed in history wherever you go. After visiting various plantations with my mother over the years, I began to realize that the tours were often glorified to be ones of “happier times” for all and additionally some narratives were specifically left out. I felt that those stories needed to be told, even if briefly to include all persons involved in plantation life.
How did you select the plantations you visited?
C: Of course we had to include the crown jewels – Mount Vernon, Monticello, and Montpelier – the homes of our Founding Fathers. We also knew we wanted to visit the plantations along the James River, including Westover where the HBO miniseries John Adams starring Paul Giamatti was filmed. Andrea Erda and her family still live in this magnificent home and she was very gracious showing us around and talking about Westover’s history. After that, we broadened our search to every corner of the state and were rewarded with some amazing finds, including some plantations that are now mere shells but being renovated in order to preserve their history.
J: Virginia is thriving with plantations both publicly and/or privately owned. Others listed in text were either no longer standing or unavailable to contact, although the information stated as such. Because of this, a list was compiled and we reached out to each plantation individually to ask their permission to come and tour, photograph, and write about their history.
Can you tell us how you gathered your information?
C: Before each visit, we read all the information that was available in print and online. We took the tours, some provided by volunteer docents others by historians with extensive knowledge. We learned not only about the specific plantation, but about how the home and its inhabitants – both the family and the slaves – were affected by the Civil War. We also focused on the architecture and, if the structure was being restored how that work was being done. The amount of research involved in these restorations is amazing and those who work on these projects are truly design detectives.
J: Sites like the National Register of Historic Places as well as the Virginia Department of Historic Resources, Historic Register were researched alongside information provided by each plantation’s docent, website and text. To make sure that the information was correct as some reports were written in the 60s, 70s, and 80s on the aforementioned sites; we provided each plantation with a copy of the text before we submitted it to the publisher for a final fact check.
Bacon’s Castle
Jai, You took the photos for the book. Can you tell us how you approached that part of the assignment?
J: With the exception of a few plantations such as Montpellier, Mount Vernon, etc., photographing each plantation was therapeutic. At times, being in a place that held so much untold history felt heavy, especially as the book developed. Regardless of how each story was told by the docents, capturing the house, its interior, and grounds, my goal was to provide each reader with an opportunity to draw their own inference based on the text. Furthermore, shooting towards the end of the year (autumn/winter) removed, in my opinion, the lightheartedness sometimes conveyed when these same places are shot during the (spring/summer).
It seems these plantations are now used in different ways. Can you explain?
C: Many are strictly preserved as historical sites and attract thousands of tourists each year. Families still live in some of these homes and we were fascinated that young children were being raised surrounded by such rich history. A few have been turned into inns or operated as bed and breakfast places. These provide another experience for those who wish to truly immerse themselves in history. And then there are those that are being brought back from rubble, determined individuals on a mission to preserve history.
J: While others have been turned into event places and offices for staff.
What was the most surprising discovery?
C: For me, it was what I learned while touring Montpelier. The home of James and Dolley Madison had passed through many hands and was last owned by Marion du Pont. With each owner, the buildings and grounds underwent dramatic changes. When Marion died, her heirs transferred ownership to the National Trust for Historic Preservation, an organization that vowed to return Montpelier to what it had been during Madison’s lifetime. Visiting Montpelier, I learned more about Madison, known as the Father of the Constitution and the Architect of the Bill of Rights. And his wife, Dolley Madison, was a huge celebrity in her time and the first President’s wife to be called the First Lady.
J: Two things: First, that many tours would either omit or gloss over the slavery aspect. However, plantations like Poplar Forest, Sully Historic Site, Monticello and a few others give dedicated slave tours in addition to their regular tours. Hopefully, other plantations will consider adding something similar as there is interest and to tell the whole story, certain voices cannot be omitted.
Secondly, how interconnected plantations were in Virginia. Numerous owners built or inherited more than one plantation over the course of their lives, particularly among those considered Virginia royalty such as the Carters, Berkeleys, and Tayloes.
Endview Plantation
What did you discover about the slave experience at these plantations?
C: Learning about a slave’s life on the plantations was always the most sobering part of the journey. How a slave was treated varied depending upon the plantation’s owner. We heard many horror stories which brought to mind scenes in the Oscar-winning film 12 Years a Slave. It was disappointing to realize that Washington, Jefferson, and Madison, despite their battles for independence and human rights, all kept and never freed their slaves. The Marquis de Lafayette, who was instrumental in helping America win the Revolutionary War, couldn’t understand how his fellow patriots and friends were slave owners.
We also found that slavery continues to be a difficult topic in the state. While some of the plantations were very upfront discussing this part of their histories – many had special exhibits and even asked for the public’s help in locating descendants of slaves – others said they preferred we skip that part of their stories. Of course, we didn’t and that often meant digging deeper for the facts.
J: There are many narratives left to be discovered.
Mount Vernon, Monticello, and Montpelier are perhaps the most visited plantations in Virginia. What should people focus on when they visit these three sites?
C: There’s so much to focus on with these three plantations. Plan to spend a full day at each. Monticello and Montpelier are close together so spending a weekend in that area of the state will allow, not only enough time to see these homes, but also provide a side trip to Virginia’s wine country. There’s even a bed and breakfast featured in the book- The Inn at Meander – where you can stay. The guides at Mount Vernon, Monticello, and Montpelier are very knowledgeable, so taking the tours is a must. Ask questions! We never found a query that stumped one of these guides. Besides learning about the actual buildings, visitors learn about these three figures who had a major impact in setting up our democracy (including, of course, the Electoral College!)
J: Visit their libraries! There is so much information available to those interested and although you may have to set up an appointment, it is worth it.
Many of these plantations have undergone serious renovations. What is involved in restoring these homes and grounds?
C: Meticulous attention to detail. We were impressed with the amount of research involved. Experts are consulted about paint colors, fabrics, and the materials used inside and outside the home. Sometimes help comes from unexpected places. During one renovation, a mouse nest was discovered in a wall. The creature had used a piece of the home’s original wallpaper for its bedding. The restoration team was able to recreate that wallpaper for an authentic look.
J: Colonial Williamsburg is often used as a standard for checking information, dating objects, etc.
How were these plantations affected during the Civil War?
C: Virginia was in the thick of it during the Civil War. Many homes were occupied, sometimes by Confederate forces, but also by Union soldiers. What often happened was that the family would flee, leaving behind slaves to manage the property. When the families returned after the war, they often found that their homes had been virtually destroyed. Some were rebuilt, others abandoned.
J: As the economic tide changed, many homes were unable to recover and were either sold for meager prices or left behind altogether. Sadly, many were used as hospitals in which floors were painted black to cover the blood-stained wood to grounds being used as unmarked cemeteries.
Patrick Henry’s Scotchtown
Do any of the personalities you write about in the book stand out?
C: I didn’t know very much about John Tyler, who became our 10th president after the death of William Henry Harrison. Tyler named his plantation “Sherwood Forest,” seeing himself as a latter-day Robin Hood. He had two wives, his second wife, the much younger Julia Gardiner, was the daughter of a New York senator. Although Julia turned down his first proposal, after he saved her during a tragedy on a naval ship, she agreed to marry him. A slave owner and Confederate supporter, Tyler would never be recognized for any of his contributions to the nation until 1915 when Congress build a monument in the cemetery where he and Julia are buried.
J: A few such as Patrick Henry who lovingly dealt with a wife who was mentally ill. Or William Berkeley who was exceptionally cruel to his slaves. And of course John Hemings who was an excellent carpenter.
What do you hope people will learn from reading this book?
C: After reading about the history of these 40 plantations, we hope that people will be inspired to visit many of them. We’ve grouped them together geographically, so spending a weekend in one area will allow for visits to several. Reading about a plantation’s story beforehand will allow a richer experience once the reader actually sees the real thing. We hope our book will start people on a journey. We applaud the many dedicated professionals who are working so hard to preserve these buildings and their stories. We can’t move forward until we truly understand where we have been. And the timing has never been more urgent for all of us to educate ourselves about this part of our nation’s history.
J: Whether you are passionate about history, architecture, slavery/slave accounts, or military involvement there’s something for everyone in this book. More importantly, to the public institutions and private families who make a conscientious decision to keep Virginia’s rich history available to all.
How did writing this book affect you?
C: I’ve always loved history and researching and writing this book has fueled my desire to learn even more. I was most affected by the people stories. We take so much for granted, our access to clean water, food, heated homes, health care, convenient transportation. Despite the grandeur of many of these homes, living was often a struggle. So many women died young in childbirth. We also heard many times of women who had died of “a broken heart.” (When that term was used to describe Debbie Reynold’s death, we were reminded that tremendous grief can indeed take its toll.) Living through the Civil War was horrific. So much destruction, so many lives lost. It was never easy to hear stories about how slaves were treated. It brought home how much work we still have to do to mend race relations in our country.
J: Realizing that intersectionality is a necessity for progression to occur in a country that so many people from all walks of life call home.
Photos by Jai Williams Top photo: Tuckahoe Plantation
