Arts & Entertainment
Franklin’s fumble
New album finds ‘woman falling’ with bad songs, dated production
So why not re-shoot your album cover after you lost 85 pounds? Alas the cover of Aretha Franklin's new album is but one of many mysteries surrounding the soul legend. (Photo courtesy of Wal-Mart)
It’s painful when a long-awaited album from a much-loved artist finally appears and is a disaster.
The pain is especially acute on Aretha Franklin’s new album, the Wal-Mart exclusive “A Woman Falling Out of Love.” Rumors swirled wildly last fall that she had pancreatic cancer — Rolling Stone even went to press with the news citing anonymous Franklin family members. So it’s a delight and huge relief to see a much trimmer Aretha — she lost about 85 pounds — back on the media circuit, looking healthier than she has in years and rescheduling concerts she postponed last year during her mystery illness (she plays Wolf Trap June 21).
What a sweet coda to the story if “Woman Falling” had been a solid, career-punctuating comeback on a par with her last good album, 1998’s “A Rose is Still a Rose.” Sadly, it’s her worst album in ages joining schlock like “Almighty Fire,” “You,” “Sweet Passion” and “Get it Right” as some of the least compelling junk in her vast discography.
Aside from the fact that she’s healthy and, based on last week’s TV promo appearances, in reasonably good voice, the good news is that the album is out at all. She was predicting an imminent release as far back as 2006 when she first mentioned the title to Billboard. It was so unfathomably delayed, it became almost a joke, sort of R&B’s answer to “Chinese Democracy,” the decade-in-the-making Guns n’ Roses album that finally saw release in 2008. Despite being active on the touring circuit, Franklin’s studio output ground nearly to a halt in the last 10 years. There was an uneven Christmas album in 2008. Her last “real” album was 2003’s “So Damn Happy.” It felt hit-and-miss at the time; it plays like a masterpiece, though, compared to “Woman Falling.”
Franklin has boasted in interviews this new project finally gives her creative control. She sees this as a major plus — sadly, she’s probably the only one. Her career, despite all the critical acclaim, has always been spotty. For every “Think,” “Freeway of Love” or “Chain of Fools,” there’ve been dozens of mediocre album tracks that fail to resonate. Because her early years at Atlantic were so smoldering and her voice has lasted, Franklin always managed a staggering level of acclaim considering how much junk there is on many of her records.
But left to her own devices, Franklin stumbles badly here churning out an inconsistent and all-over-the-map sonic mess that struggles to muster even one catchy hook or chorus. “This You Should Know” (which she both wrote and produced), “Put it Back Together Again,” “When 2 Become One” and first single “How Long I’ve Been Waiting” sink like quicksand in a soggy stew of momentum-sapping and dated-sounding R&B drivel.
Franklin, thankfully, sounds great. Her voice — while not quite the rafter raising feat of nature it was 30 years ago — still has a luster and sheen that’s delightful to hear. In a way, though, it makes this album doubly tragic — with better material, it’s obvious Franklin possesses the vocal wherewithal to have produced a home run.
The covers are hit and miss, but two of the three are the record’s high points. A sassy, bluesy cover of B.B. King’s “Sweet Sixteen” promises early hope but proves an isolated and fleeting moment. A duet with an oddly uncredited Ronald Isley on “The Way We Were” is sweeping and feels positively glorious compared to everything else. “A Summer Place,” the theme from the 1959 film of the same title, doesn’t fare nearly as well. An oddball outro dialogue with an uncredited male guest is embarrassing, cheesy and weird.
The insipd “New Day” sounds like a promising change of pace initially with its deep bassline but soon dissolves into trite lyrics (“you can make it if you try!”). “Faithful,” a duet with gospel’s Karen Clark-Sheard is so ludicrously oversung it makes Christina Aguilera sound reserved.
And despite a Billy Preston-caliber organ accompaniment courtesy of Darrell Houston, “His Eye is On the Sparrow” shows merely that Franklin’s son Eddie, singing lead here, inherited his mother’s range but not her interpretive finesse. She accompanies him on piano. It gives the album warmth, but since Aretha’s never recorded this standard herself, I’d have much rather heard her sing it.
The album closes with a bombastic rendition of “My Country Tis of Thee,” which Franklin sang at Obama’s inauguration. She battled the cold that day — here she battles an overwrought orchestration (her own arrangement) that never met a musical cliché (rumbling timpani!, gospel choir on caffeine!) that it didn’t try to work in.
Franklin said she cut tracks with Faith Hill, Shirley Caesar and several producers for this album but they’re all MIA. It’s impossible to know how much was recorded over the last five years for this album but considering what made the final cut, one shudders to imagine the outtakes. From the amateur photography and packaging to the dubious selections and bland production, this is a near-total disaster.
Theater
Out dancer on Alvin Ailey’s stint at Warner Theatre
10-day production marks kickoff of national tour
Alvin Ailey American Dance Theater
Through Feb. 8
Warner Theatre
513 12th St., N.W.
Tickets start at $75
ailey.org
The legendary Alvin Ailey American Dance Theater is coming to Washington’s Warner Theatre, and one of its principal veterans couldn’t be more pleased. Out dancer Renaldo Maurice is eager to be a part of the company’s 10-day stint, the kickoff of a national tour that extends through early May.
“I love the respectful D.C. crowd and they love us,” says Maurice, a member of esteemed modern dance company for 15 years. The traveling tour is made of two programs and different casting with Ailey’s masterwork “Revelations” in both programs.
Recently, we caught up with Maurice via phone. He called from one of the quiet rooms in his New York City gym where he’s getting his body ready for the long Ailey tour.
Based in North Newark, N.J., where he recently bought a house, Maurice looks forward to being on the road: “I enjoy the rigorous performance schedule, classes, shows, gym, and travel. It’s all part of carving out a lane for myself and my future and what that looks like.”
Raised by a single mother of three in Gary, Ind., Maurice, 33, first saw Alvin Ailey as a young kid in the Auditorium Theatre in downtown Chicago, the same venue where he’s performed with the company as a professional dancer.
He credits his mother with his success: “She’s a real dance mom. I would not be the man or artist I am today if it weren’t for the grooming and discipline of my mom. Support and encouragement. It’s impacted my artistry and my adulthood.”
Maurice is also part of the New York Ballroom scene, an African-American and Latin underground LGBTQ+ subculture where ball attendees “walk” in a variety of categories (like “realness,” “fashion,” and “sex siren”) for big prizes. He’s known as the Legendary Overall Father of the Haus of Alpha Omega.
WASHINGTON BLADE: Like many gay men of his era, Ailey lived a largely closeted public life before his death from AIDS-related complications in 1989.
RENALDO MAURICE Not unusual for a Black gay man born during the Depression in Rogers, Texas, who’s striving to break out in the industry to be a creative. You want to be respected and heard. Black man, and Black man who dances, and you may be same-sex gender loving too. It was a lot, especially at that time.
BLADE: Ailey has been described as intellectual, humble, and graceful. He possessed strength. He knew who he was and what stories he wanted to tell.
MAURICE: Definitely, he wanted to concentrate on sharing and telling stories. What kept him going was his art. Ailey wanted dancers to live their lives and express that experience on stage. That way people in the audience could connect with them. It’s incredibly powerful that you can touch people by moving your body.
That’s partly what’s so special about “Revelations,” his longest running ballet and a fan favorite that’s part of the upcoming tour. Choreographed by Alvin Ailey in 1960, it’s a modern dance work that honors African-American cultural heritage through themes of grief, joy, and faith.
BLADE: Is “Revelation” a meaningful piece for you?
MAURICE: It’s my favorite piece. I saw it as a kid and now perform it as a professional dance artist. I’ve grown into the role since I was 20 years old.
BLADE: How can a dancer in a prestigious company also be a ballroom house father?
MAURICE: I’ve made it work. I learned how to navigate and separate. I’m a principal dancer with Ailey. And I take that seriously. But I’m also a house father and I take that seriously as well.
I’m about positivity, unity, and hard work. In ballroom you compete and if you’re not good, you can get chopped. You got to work on your craft and come back harder. It’s the same with dance.
BLADE: Any message for queer audiences?
MAURICE: I know my queer brothers and sisters love to leave with something good. If you come to any Ailey performance you’ll be touched, your spirit will be uplifted. There’s laughter, thoughtful and tender moments. And it’s all delivered by artists who are passionate about what they do.
BLADE: Alvin Ailey has been a huge part of your life. Thoughts on that?
MAURICE: I’m a believer in it takes a village. Hard work and discipline. I take it seriously and I love what I do. Ailey has provided me with a lot: world travel, a livelihood, and working with talented people here and internationally. Alvin Ailey has been a huge part of my life from boyhood to now. It’s been great.
Catfish Comedy will host “2026 Queer Kickoff Show” on Thursday, Feb. 5 at A League of Her Own (2319 18th Street, N.W.). This show features D.C.’s funniest LGBTQ and femme comedians. The lineup features performers who regularly take the stage at top clubs like DC Improv and Comedy Loft, with comics who tour nationally.
Tickets are $17.85 and can be purchased on Eventbrite.
Arts & Entertainment
Catherine O’Hara, ‘Schitt’s Creek’ star and celebrated queer ally, dies at 71
Actress remembered for memorable comedic roles in ‘Beetlejuice’ and ‘Home Alone’
Catherine O’Hara, the varied comedic actor known for memorable roles in “Beetlejuice,” “Schitt’s Creek,” and “Home Alone,” has died at 71 on Friday, according to multiple reports. No further details about her death were revealed.
O’Hara’s death comes as a shock to Hollywood, as the Emmy award-winning actor has been recently active, with roles in both “The Studio” and “The Last of Us.” For her work in those two shows, she received Emmy nominations for outstanding supporting actress in a comedy series and outstanding guest actress in a drama series.
In 2020, O’Hara won the Outstanding Lead Actress in a comedy series award for her work in the celebrated sixth and final season of “Schitt’s Creek.” She was also known as a queer ally and icon for her theatrical and often campy performances over multiple decades. In “Schitt’s Creek,” she played Moira Rose, the wig-loving mother of David Rose (played by series creator Dan Levy). David is pansexual, but the characters around him simply accept him for who he is; the show was embraced by the LGBTQ community with how naturally David’s sexuality was written and portrayed. That show ran from 2015 to 2020 and helped bring O’Hara and her co-stars into a new phase of their careers.
In a 2019 interview with the Gay Times, O’Hara explained why the show got LGBTQ representation right: “Daniel has created a world that he wants to live in, that I want to live in. It’s ridiculous that we live in a world where we don’t know how to respect each other and let each other be. It’s crazy. Other shows should follow suit and present the world and present humans as the best that we can be. It doesn’t mean you can’t laugh, that you can’t be funny in light ways and dark ways. It’s all still possible when you respect and love each other.”
Additional credits include “SCTV Network” (for which O’Hara won a writing Emmy), “Beetlejuice Beetlejuice,” “Curb Your Enthusiasm,” “Six Feet Under,” “Best in Show,” “Home Alone 2: Lost in New York,” and “Dick Tracy.” O’Hara also lent her voice to “The Nightmare Before Christmas,” “Chicken Little,” “Monster House,” and “Elemental.” O’Hara was expected to return for Season 2 of “The Studio,” which started filming earlier this month.
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