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Gladys at the Strathmore: brief but magical

Soul legend delights with all-too-short 75-minute set

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Soul legend Gladys Knight played two nights at the Strathmore last week. I caught the Friday night show which found the singer in fine voice running through a vigorous hit-heavy set with a smoking tight band.

She was also in a chatty, jovial mood. Her sassy, tell-it-like-it-is stories had the sold out crowd — probably 75 percent African-American — in the palm of her hand.

Gladys Knight at the Strathmore Friday night. (Photo courtesy Brian Walmer)

Gladys Knight at the Strathmore Friday night. (Photo courtesy Brian Walmer)

Looking 25 years younger than she is (68) and with vocals that sounded as rich and solid as they did in 1967, it was an almost magical night. The only downside — and with many tickets soaring past the $100 mark, it was an issue — was the overall brevity of the evening. Knight was on stage only about 75 minutes, with nearly 15 of that being eaten up by her joined-at-the-hip brother Bubba. Yeah, he’s an original Pip and deserves respect, but it was painful after awhile realizing his heavily stage-crafted schtick was taking up so much time.

Of course the Knight siblings — true to their old school show biz roots — pretended all this heavily worked out banter was spontaneous. And while much of it was cute, a little less of that and a few more songs would have made for an almost perfect evening.Ā The lack of an encore — she sometimes comes back out for “The Way We Were” — added to the “bare minimum” feel.

To Knight’s credit however, she doesn’t phone in her show — it was substantially different from the set list she played at Wolf Trap in 2009.

The Strathmore is truly one of Washington’s finest concert venues. I was there two weeks ago for a classical concert (organist Cameron Carpenter) yet it works just as well for a “pop” show such as Knight’s. Friends in the top balcony said the sound was muddy up there — hard to know if that’s a venue thing or something with Knight’s crew — but the sound mix was pristine on the floor.

SET LIST

Soldier of Love
Just Fine
If I Were Your Woman
You’re The Best Thing That Ever Happened To Me
Feelin’ Good (Vacilon)
I’ve Got To Use My Imagination
End of the Road Medley:
-If You Don’t Know Me By Now
-Love Don’t Love Nobody
-End of the Road
Before Me Medley:
-The Man I Love
-Stormy Weather
-Someone To Watch Over Me
I Heard It Through The Grapevine
Neither One of Us
Bubba Knight Segment:
-Yesterday (Duet w/Gladys)
-Love & Happiness
-Funky Good Time
-Dance To The Music
-Love & Happiness (Reprise)
Midnight Train To Georgia

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Books

New book goes behind the scenes of ā€˜A League of Their Own’

ā€˜No Crying in Baseball’ offers tears, laughs, and more

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(Book cover image courtesy of Hachette Books)

ā€˜No Crying in Baseball: The Inside Story of ā€˜A League of Their Own’
By Erin Carlson
c.2023, Hachette Books
$29/320 pages

You don’t usually think of Madonna as complaining of being ā€œdirty all dayā€ from playing baseball. But that’s what the legendary diva did during the shooting of ā€œA League of Their Own,ā€ the 1992 movie, beloved by queers.

ā€œNo Crying in Baseball,ā€ the fascinating story behind ā€œA League of Their Own,ā€ has arrived in time for the World Series. Nothing could be more welcome after Amazon has cancelled season 2 of its reboot (with the same name) of this classic film.

In this era, people don’t agree on much. Yet, ā€œA League of Their Ownā€ is loved by everyone from eight-year-old kids to 80-year-old grandparents.

The movie has strikes, home runs and outs for sports fans; period ambience for history buffs; and tears, laughs and a washed-up, drunk, but lovable coach for dramady fans.

The same is true for ā€œNo Crying in Baseball.ā€ This ā€œmaking ofā€ story will appeal to history, sports and Hollywood aficionados. Like ā€œAll About Eveā€ and ā€œThe Rocky Horror Picture Show,ā€ ā€œA League of Their Ownā€ is Holy queer Writ.

Carlson, a culture and entertainment journalist who lives in San Francisco, is skilled at distilling Hollywood history into an informative, compelling narrative. As with her previous books, ā€œI’ll Have What She’s Having: How Nora Ephron’s three Iconic Films Saved the Romantic Comedyā€ and ā€œQueen Meryl: The Iconic Roles, Heroic Deeds, and Legendary Life of Meryl Streep,ā€ ā€œNo Crying in Baseball,ā€ isn’t too ā€œeducational.ā€ It’s filled with gossip to enliven coffee dates and cocktail parties.

ā€œA League of Their Ownā€ is based on the true story of the All-American Girls Professional Baseball League (AAGPBL). From 1943 to 1954, more than 600 women played in the league in the Midwest. The league’s players were all white because the racism of the time prohibited Black women from playing. In the film, the characters are fictional. But the team the main characters play for – the Rockford Peaches – was real.

While many male Major and Minor League Baseball players were fighting in World War II, chewing gum magnate Philip K. Wrigley, who owned the Chicago Cubs, founded the league. He started the AAGPBL, ā€œTo keep spectators in the bleachers,ā€ Carlson reports, ā€œand a storied American sport–more important: his business afloat.ā€ 

In 1943, the Office of War Information warned that the baseball season could be ā€œscrappedā€ ā€œdue to a lack of men,ā€ Carlson adds.

ā€œA League of Their Ownā€ was an ensemble of women’s performances (including Rosie O’Donnell as Doris, Megan Cavanagh as Marla, Madonna as Mae, Lori Petty as Kit and Geena Davis as Dottie) that would become legendary.

Girls and women  still dress up as Rockford Peaches on Halloween.

Tom Hanks’s indelible portrayal of coach Jimmy Dugan, Gary Marshall’s depiction of (fictional) league owner Walter Harvey and Jon Lovitz’s portrayal of Ernie have also become part of film history.

Filming ā€œA League of Their Own,ā€ Carlson vividly makes clear, was a gargantuan effort.  There were ā€œactresses who can’t play baseballā€ and ā€œbaseball players who can’t act,ā€ Penny Marshall said.

The stadium in Evansville, Ind., was rebuilt to look like it was in the 1940s ā€œwhen the players and extras were in costume,ā€ Carlson writes, ā€œit was easy to lose track of what year it was.ā€

ā€œNo Crying in Baseballā€ isn’t written for a queer audience. But, Carlson doesn’t pull any punches. 

Many of the real-life AAGPBL players who O’Donnell met had same-sex partners, O’Donnell told Carlson.

ā€œWhen Penny, angling for a broad box-office hit chose to ignore the AAGPGL’s queer history,ā€ Carlson writes, ā€œshe perpetuated a cycle of silence that muzzled athletes and actresses alike from coming out on the wider stage.ā€

ā€œIt was, as they say, a different time,ā€ she adds.

Fortunately, Carlson’s book isn’t preachy. Marshall nicknames O’Donnell and Madonna (who become buddies) ā€œRoā€ and ā€œMo.ā€ Kodak is so grateful for the one million feet of film that Marshall shot that it brings in a high school marching band. Along with a lobster lunch. One day, an assistant director ā€œstreaked the set to lighten the mood,ā€ Carlson writes.

ā€œNo Crying in Baseball,ā€ is slow-going at first. Marshall, who died in 2018, became famous as Laverne in ā€œLaverne & Shirley.ā€ It’s interesting to read about her. But Carlson devotes so much time to Marshall’s bio that you wonder when she’ll get to ā€œA League of Their Own.ā€

Thankfully, after a couple of innings, the intriguing story of one of the best movies ever is told.

You’ll turn the pages of ā€œNo Crying in Baseballā€ even if you don’t know a center fielder from a short stop.

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Theater

Rupert Murdoch’s powers on full display in ā€˜Ink’

Media baron helped pave the way for Brexit, Prime Minister Thatcher

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Cody Nickell (Larry Lamb) and Andrew Rein (Rupert Murdoch) in ā€˜Ink’ at Round House Theatre. (Photo by Margot Schulman Photography)

ā€˜Ink’
Through Sept. 24
Round House Theatre
4545 East-West Highway, Bethesda, MD 20814
$46-$94
Roundhousetheatre.org

Yes, Rupert Murdoch’s loathsome traits are many, but his skills to succeed are undeniably numerous.Ā 

In the first scenes of John Graham’s West End and Broadway hit drama ā€œInk,ā€ an exciting year-long detail from the life of a burgeoning media baron, Murdoch’s powers of persuasion are on full display.

It’s 1969 London. Over dinner with editor Larry Lamb, a young Murdoch shares his plan to buy the Sun and rebrand the dying broadsheet, replacing the Daily Mirror as Britain’s best-selling tabloid. What’s more, he wants to do it in just one year with Lamb at the helm. 

Initially reluctant, Lamb becomes seduced by the idea of running a paper, something that’s always eluded him throughout his career, and something Murdoch, the outsider Australian, understands. Murdoch taunts him, ā€œNot you. Not Larry Lamb, the Yorkshire-born son of a blacksmith, not the guy who didn’t get a degree from Oxford or Cambridge, who didn’t get a degree from anywhere. Not you.ā€

Still, Lamb, played convincingly by Cody Nickell in Round House Theatre’s stellar season-opener, a co-production with Olney Theatre Center, remains unsure. But Murdoch (a delightfully brash Andrew Rein) is undeterred, and seals the deal with a generous salary. 

Superbly staged by director Jason Loweth, ā€œInkā€ is riveting. Its exchanges between Lamb and Murdoch are a strikingly intimate glimpse into ambition involving an ostensibly average editor and a striving money man who doesn’t like people.  

Once on board, Lamb is trolling Fleet Street in search of his launch team, played marvelously by some mostly familiar actors. He makes his most important hire — news editor Brian McConnell (Maboud Ebrahimzadeh) — in a steam bath. The remainder of the Sun’s new masthead falls handily into place: Joyce Hopkirk (Kate Eastwood Norris) the women’s page editor whose forward thinking is marred by her casual racism; Zion Jang plays Beverley Goodway, an awkwardly amusing young photographer; persnickety deputy editor Bernard Shrimsley (Michael Glenn) who learns to love ugly things; and an old school sports editor who proves surprisingly versatile, played by Ryan Rillette, Round House’s artistic director. 

At Lamb’s suggestion, the team brainstorms about what interests Sun readers. They decide on celebrities, pets, sports, free stuff, and —rather revolutionarily for the time —TV.  Murdoch is happy to let readers’ taste dictate content and the ā€œWhyā€ of the sacred ā€œfive Wsā€ of journalism is out the window. 

Murdoch is portrayed as a not wholly unlikable misanthrope. He dislikes his editors and pressman alike. He particularly hates unions. His advice to Lamb is not to get too chummy with his subordinates. Regarding the competition, Murdoch doesn’t just want to outperform them, he wants to grind them to dust. 

Loewith leads an inspired design team. Scenic designer Tony Cisek’s imposing, inky grey edifice made from modular walls is ideally suited for Mike Tutaj’s projections of headlines, printed pages, and Rein’s outsized face as Murdoch. Sound designer and composer Matthew M. Nielson ably supplies bar noises and the nonstop, pre-digital newspaper clatter of presses, linotypes, and typewriters.

From a convenient second tiered balcony, the Daily Mirror’s establishment power trio Hugh Cudlipp (Craig Wallace), Chris Lee Howard (Chris Geneback) and Sir Percy (Walter Riddle) overlook all that lies below, discussing new tactics and (mostly failed) strategies to remain on top.   

Increasingly comfortable in the role of ruthless, sleazy editor, Lamb is unstoppable.

Obsessed with overtaking the Daily Mirror’s circulation, he opts for some sketchy reportage surrounding the kidnapping and presumed murder of Muriel McKay, the wife of Murdoch’s deputy Sir Alick (Todd Scofield). The kidnappers mistook Muriel for Murdoch’s then-wife Anna (Sophia Early). Next, in a move beyond the pale, Lamb introduces ā€œPage 3,ā€ a feature spotlighting a topless female model. Awesta Zarif plays Stephanie, a smart young model. She asks Lamb if he would run a semi-nude pic of his similarly aged daughter? His reaction is uncomfortable but undaunted. 

For Murdoch’s purposes, history proves he chose well in Lamb. By year’s end, the Sun is Britain’s most widely read tabloid. Together they give the people what they didn’t know they wanted, proving the pro-Labour Daily Mirror’s hold on the working class is baseless and paving the way for things like Brexit and a Prime Minister Thatcher. 

ā€œInkā€ at Round House closes soon. See it if you can.

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Out & About

CAMP Rehoboth’s final concert of the season is almost here

Chorus performs ‘Music of the Night’

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CAMP Rehoboth Chorus is ready to close out another season.

CAMP Rehoboth Chorus will perform ā€œMusic of the Nightā€ on Friday, Sept. 29 and Saturday, Sept. 30 at 7 p.m. and on Sunday, Oct. 1 at 3 p.m. at Epworth United Methodist Church. 

The chorus will sing more than 36 song selections, including ā€œFly Me to the Moon,ā€ ā€œI Could’ve Danced All Nightā€ and ā€œIn the Still of the Nite.ā€

Tickets cost $25 and can be purchased on CAMP Rehoboth’s website.

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