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A gem loses its luster

Despite a magnificent star, ‘Lescaut’ needs some polishing

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Patricia Racette, Manon Lascaut, Washington National Opera, gay news, Washington Blade

Patricia Racette makes her role debut in ‘Manon Lescaut’ for Washington National Opera. (Photo by Scott Suchman; courtesy of Washington National Opera)

‘Manon Lescaut’
Through March 23
Kennedy Center Opera House
2700 F St., NW
$25-$300
202-467-4600
kennedy-center.org

Opera can be an exquisite combination of art forms when done well — lush instrumentals combine with soaring vocals and engaging theatricality to create a passionate and transformative evening. That’s why the opening night of Washington National Opera’s “Manon Lescaut” was so teeth-grindingly frustrating. It polluted a sumptuous opera with high school-level missteps in directing, performance and conducting.

Rightfully lauded soprano Patricia Racette (a lesbian) made her role debut as Manon, and as expected she hit it out of the park. Her ability to convey pathos, both vocally and as an actress, lifted the character out of her two-dimensionality, suggesting a true conflict between Manon’s desire for real love and her gold-digging tendencies. At opera’s end, when Racette managed as she had throughout the evening to keep us spellbound by her vocal line and dramatic heft, the young girl’s demise became a heartbreaking cautionary tale about living for anything other than love.

Too bad, then, that this remarkable artist had to battle an orchestra run amok. Puccini’s score is rife with sweeping gestures of romantic tragedy and under the baton of Philippe Auguin, the orchestra certainly, but not always wisely, matched the mood. The players sounded so intoxicated with the score that, at times, they sawed away at it drunkenly, often drowning out the principles. The duet between Manon and her lover Des Grieux, Bulgarian tenor Kamen Chanev, leaned perilously close to becoming a shouting match.

Chanev was clearly hired for his money notes, the bread-and-butter of any tenor, and here he delivered in spades. His passionately ringing high note and legato in the act three aria, “No! Pazzo son! Guardate,” would crack the heart of the most hardened opera aficionado, yet, high notes only do not a good tenor make. Often employing vocal parlor tricks to cover a lack of dynamic subtlety, the large-voiced Chanev stumbled clumsily through much of Puccini’s lyric writing. (Perhaps he should have taken phrasing cues from Raúl Melo’s stylistically charming Edmondo.)

This “Manon Lescaut,” a revival of the 2007 production, was created and directed by gay opera director John Pascoe, who also helmed Washington National Opera’s “Don Giovanni,” seen earlier this season, and 2008’s dynamic “Lucrezia Borgia.”

Some brilliant and unexpected design choices — a large bust-topped pillar transformed into a human-sized jewel box for Manon and broken palace pieces as the heroine’s final resting place — highlighted the shallow artifice of 18th-century Paris juxtaposed with the lonely end we all crawl toward.

The grand desolation of Manon, who goes from dancing in the glittering salons of Paris to dying on a windswept plain in America, is one hair’s breadth away from melodrama, and some of Pascoe’s blocking and set choices only highlighted this unfortunate tendency. Using a large scrolled page as a screen for projecting quotes from the original Manon story written in the 17th-century by Abbé Prévost, this page regularly split in two, framing the stage and suggesting a grand fairy tale. At times, the halves would draw closer together, unnecessarily highlighting a lead character’s aria in a ham-handed attempt to let the audience know this moment was important — as if the writing and performance alone couldn’t do that.

Hackneyed operatic staging threatened to turn the piece into a silent film. Des Grieux and Manon often didn’t sing to each other at all in moments of high passion, and sometimes they weren’t even near one another. During her death scene, the heroine was draped languidly in a sepulchral broken pillar, only then to sing about being in her tomb. Yeah. We got that, already.

Perhaps in the relentless march to make opera easily accessible, the production team sacrificed the delicacy and infinite emotional variations that reflect real life. Manon’s story is not so absurd in an era when people will just as easily sell their soul for a shot on reality TV as they would sell out true love for a chance to wear jewel-encrusted gowns.

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Theater

‘Inherit the Wind’ isn’t about science vs. religion, but the right to think

Holly Twyford on new role and importance of listening to different opinions

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Holly Twyford

‘Inherit the Wind’
Through April 5
Arena Stage
1101 Sixth St., S.W.
Tickets start at $73
Arenastage.org

When “Inherit the Wind” premiered on Broadway in 1955 with a cast of 50, its fictional setting of Hillsboro, an obscure country town described as the buckle on the Bible Belt, was filled with townspeople. And now at Arena Stage, director Ryan Guzzo Purcell has somehow crowded Arena’s large Fichandler space with just 10 actors, five principals and a delightful ensemble of five playing multiple roles. 

Inspired by the real-life Scopes Monkey Trial of 1925, Jerome Lawrence and Robert E. Lee’s fictionalized work pits intellectual freedom against McCarthyism via the imagined trial of Bertram Cates (Noah Plomgren), a Tennessee educator charged with teaching evolution. Drawn into the fracas are big shot lawyers, defense attorney Henry Drummond (Billy Eugene Jones), and conservative prosecutor, Matthew Harrison Brady (Dakin Matthew). On hand to cover the closely watched story is wisecracking city slicker and Baltimore reporter E.K. Horneck (played by nonbinary actor Alyssa Keegan). 

Out actor Holly Twyford, a four-time Helen Hayes Award winner who has appeared in more than 80 Washington area plays, is part of the ensemble. In jeans and boots, she memorably plays Meeker, the bailiff at the Hillsboro courthouse and the jailer responsible for holding Cates in the days leading to his trial. 

Twyford also plays Sillers, a slack jawed earnest employee at the local feed store who’s called to serve on the jury. And more importantly she plays Brady’s quietly strong wife Sarah whom he affectionately calls “Mother.”

When Twyford makes her memorable first entrance as Meeker, she’s wiping shaving cream from her face with a hand towel. With shades of Mayberry R.F.D., the jail is run casually. Meeker says Cates isn’t the criminal type, and he’s not. 

“There’s a joke among actors,” says Twyford. “When an actor gets his shoes, they know who their character is. And it’s sort of true. When you put on boots, heels, or flip flops, there’s a different feeling, and you walk differently.”

Similarly, shares Twyford, it goes for clothes too: “When Mother slips a pink coat dress over her cowboy boots, dons a little hat and ties her scarf, or Meeker puts on his work shirt, I know where I am. And all of that is thanks to a remarkable wardrobe crew. 

“Additionally, some of the ensemble characters are played broadly which is helpful to the actors and super identifying for the audience too.”   

During intermission, an audience member loudly described the production as “a proper play” filled with beautifully written passages. And it’s true. Twyford agrees, adding “That’s all true, and it’s also been was fun for us to be a part of the Arena legacy as well. Arena took ‘Inherit the Wind’ to the Soviet Union in the early ‘70s when the respective governments did a cultural exchange. At the time, the iron curtain was very much in place, and they traveled with a play about a man with his own thoughts.”

When the ensemble was cast, actors didn’t know which tracts exactly they were going to play. “What came together was a cast, diverse in different ways. Some directors, including myself when I direct, are interested in assembling a cast that’s a good group. No time for egos. It’s more about who will make the best group to help me tell this story.” 

At one point during rehearsal, ensemble members began to help one another with minor onstage costume changes, like jackets and hats: “We just started doing it and Ryan [Guzzo Purcell] picked up on it, saying things really began to come alive when we helped each other, so we went with that.”

“For me, it was reminiscent of ‘The Laramie Project’ [Ford’s Theatre in 2013] when we played five different parts and we’d help each other with a vest or jacket in a similar way. It worked so well then too,” says Twyford.

“Inherit the Wind” isn’t about science versus religion. It’s about the right to think, playwright Jerome Lawrrence has been quoted as saying. And it’s a quote that makes the play that much more relevant today. 

Twford remembers a chat in a hair salon: “I was getting my hair cut and the woman next to me shared that she was tired of message plays. Understandably there are theater makers who believe that message plays are the point, while others think it’s all about entertainment. I feel like ‘Inherit the Wind’ sits in a nice place in the middle.” 

She adds “the work is a creative way of showing different opinions and that, I think, is what we should be paying attention to right now. Clearly, it’s not right or wrong to express what you think.”

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Out & About

‘How We Survived’ panel set for March 25

‘Living History’ discussion to be held at Spark Social

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Local activist Earline Budd will serve on a panel discussion titled, ‘Part One, Living History: How We Survived.’ (Washington Blade file photo by Michael Key)

Friends of Dorothy Cafe will host “Part One, Living History: How We Survived,” will take place on Wednesday, March 25 at 7:30 p.m. at Spark Social House.

This event will be moderated by Abby Stuckrath, host of the “Queering the District” podcast. Panelists include: Earline Budd, activist, trans rights advocate; TJ Flavell of Go Gay DC; DC LGBTQ+ Center Board Member David Bissette; and Alexa Rodriguez, founder and executive director, Trans-Latinx DMV.

This event is part of a four-part storytelling series called “Living History,” which centers LGBTQ elders, activists, artists, and icons sharing their lived experiences and reflections with younger generations. The conversations explore themes like resilience, community organizing, chosen family, and the lessons earlier generations hope today’s LGBTQ+ and ally communities will carry forward.

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Calendar

Calendar: March 21-26

LGBTQ events in the days to come

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Saturday, March 21

Go Gay DC will host “LGBTQ+ Community Brunch” at 11 a.m. at Freddie’s Beach Bar & Restaurant. This fun weekly event brings the DMV area LGBTQ+ community, including allies, together for delicious food and conversation.  Attendance is free and more details are available on Eventbrite.

The DC Center for the LGBT Community will host “Sunday Supper on Saturday” at 2 p.m. It’s more than just an event; it’s an opportunity to step away from the busyness of life and invest in something meaningful, and enjoy delicious food, genuine laughter, and conversations that spark connection and inspiration. For more details, visit the Center’s website

Sunday, March 22

LGBTQ+ Community Coffee and Conversation will be at 12 p.m. at As You Are. This event is for people looking to make more friends and meaningful connections in the LGBTQ community. Attendance is free and more details are available on Eventbrite

Monday, March 23

Center Aging: Monday Coffee Klatch” will be at 10 a.m. on Zoom. This is a social hour for older LGBTQ+ adults. Guests are encouraged to bring a beverage of choice. For more information, contact Adam ([email protected]).

Queer Book Club will be at 7 p.m. on Zoom. The Queer Book Club meets on the fourth Monday of the month to discuss queer books by queer authors. For more details, visit the DC Center’s website

Tuesday, March 24

Coming Out Discussion Group will be at 7 p.m. on Zoom. This is a safe space to share experiences about coming out and discuss topics as it relates to doing so — by sharing struggles and victories the group allows those newly coming out and who have been out for a while to learn from others. For more details, visit the group’s Facebook

Genderqueer DC will be at 7 p.m. on Zoom. This is a support group for people who identify outside of the gender binary, whether you’re bigender, agender, genderfluid, or just know that you’re not 100% cis. For more details, visit www.genderqueerdc.org or Facebook

Wednesday, March 25

Job Club will be at 6 p.m. on Zoom upon request. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit www.thedccenter.org/careers.

Thursday, March 26

The DC Center’s Fresh Produce Program will be held all day at the DC Center for the LGBT Community. People will be informed on Wednesday at 5 p.m. if they are picked to receive a produce box. No proof of residency or income is required. For more information, email [email protected] or call 202-682-2245. 

Virtual Yoga Class will be at 7 p.m. on Zoom. This free weekly class is a combination of yoga, breath work and meditation that allows LGBTQ+ community members to continue their healing journey with somatic and mindfulness practices. For more details, visit the DC Center’s website.  

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