On October 9th the equine extravaganza that galloped into town four years ago will return with an even more spectacular show. Sixty-nine horses ranging from Andalusian and Arabians, Belgians to Appaloosas, and Percherons to Paints along with other exotic horse breeds from around the world will grace a big top the size of two football fields. But you don’t have to be horse crazy to be wowed by the beauty and raw power of these magnificent animals performing on a “stage” the size of two hockey rinks and a surface made of sand.
Forty-nine artists (half that number are actual riders) will ride in three major styles. There’s the hell-bent-for-leather “Liberty” style; the side-by-side and in synch for the “Roman” style; and the elegant prancing and posing techniques best known for the elegant “Dressage” style. Watching these massive beauties go through their paces is as riveting, as it is awe-inspiring, and a tribute to the intimate relationship riders and trainers have with their horses.
Grand Cavalia | Credits: Color-ish company
Canadian Marc-Olivier Leprohon, head of artistic and equestrian operations, spoke to the Alexandria Times about Cavalia Odysseo.
Can you describe the development of Cavalia Odysseo?
When we began in Quebec in 2011 we were twelve people. Now there are 130 that are on the tour. Also we bring on an extra one hundred people for seating and food wherever we go and another fifty people to help move the show, tear down the big top, and pack up supplies into one hundred trucks.
That’s a huge production! What’s planned for the future?
There are two distinctly different shows, Cavaliaand Cavalia Odysseo. Our Artistic Director, Wayne Fowkes, has a goal is to create different shows in North America and around the world. Right now it’s the biggest show ever built and includes a huge lake and a hill in the background that the horses run up and down.
What kind of surface do the horses perform on?
We all work in sand. All of the acrobats or aerialists have to adapt, because the ground is not even. Every day we smooth the sand and roll it. It’s soft enough for the horses and compact enough for the artists. In the show there is nothing to obstruct the view of the horses. It’s like bringing nature indoors. In the beginning the horses strut, then jump and canter. We work them into dressage and finally into trick riding. So their warm-up is actually on stage, not backstage.
How are the horses trained and do they perform in every show?
We follow what the horse wants to do and try to understand what they are telling us. Each one is trained to do four different disciplines even though they don’t do the same things every day. In addition we always have some that are in training when we are on the road.
Where do the horses go between cities?
We usually have two weeks in between that’s when we take them to a local farm. Before we open at National Harbor they’ll stay on a farm in Delaware that provides sixty-three stalls with paddocks and fields to run around in with their friends.
Nomads / Nomades | Credits: Pascal Ratthé
Stephanie Evans is one of the artists in the show also spoke to the Alexandria Times about her experiences with the horses. Raised on a horse farm in Canada, she has competed in many international equestrian events and trained in dressage in Lipica, Slovenia, the original home of the Lipizzaner breed. She also learned equestrian skills in Spain at the Real Escuela Andaluza del Arte Ecuestre.
What is the breakdown of horse to rider and how do they get pampered?
Each rider is assigned three to six horses and each horse creates a bond with their rider. We have eleven different breeds – – some are stallions and some are geldings. On site we have round pens and an outdoor stand ring for sun and fresh air. We travel with two vet techs who are in contact with local veterinarians and we have a farrier who travels with us in case a horse throws a shoe.
What are some of the quirks of their personalities?
I have three horses I ride now. One is an Andalusian stallion, who’s super relaxed, super sweet and super lazy. Another Andalusian I ride is very excitable and always looking around for things. Sometimes he is unpredictable!
Do the horses play well together?
No! We have to separate them because we have a lot of stallions, although the geldings get along. There is a group of Arabians that are in a big “Liberty” number and they get turned out together. The oldest is fifteen and the youngest is five.
Why do you have so many stallions?
Stallions have a greater presence and are known for having more muscle tone. Their mane and tail create a more visually impressive horse and they have more character.
Since the artists are from so many different countries how do they communicate with one another?
We mainly speak English and French. You’ll also hear Spanish, Portuguese, and Susu since we have a big group from New Guinea.
UPDATE: For the DC Metropolitan area a 50% discount will apply for a limited time only. This major rebate will apply on all tickets for Cavalia’s newest production Odysseo.
“The shutdown of the national government will affect thousands of employees and businesses in the Washington, DC area,” said Normand Latourelle, Cavalia’s Founder and Artistic Director.“Considering the impact of the shutdown on the local economy,we want to offer a special promotion so everyone can experience the magic of Odysseo.”
Upon the 50th anniversary of pivotal events in the Civil Rights movement, Hallmark Channel is proud to present “The Watsons Go To Birmingham”
The Watsons Go To Birmingham had a private showing at the Newseum last week upon the 50th anniversary of the pivotal events of the Civil Rights Movement. The Hallmark Channel’s original new family movie is based on Christopher Paul Curtis’ award-winning book with screenplay written by Tonya Lewis Lee (wife of Film Director, Spike Lee) and produced by Ms. Lee and collaborator Nikki Silver. It’s an inspirational story of an all-American family who takes a road trip in the racially charged days of 1963 from Flint, Michigan to Birmingham, Alabama. Their experiences of that historic summer give them newfound courage to stand up for their rights and help to bring the family closer.
The Honorable William Bell with Producers Tonya Lewis Lee and Nikki Silver (R)
Not only did Director Kenny Leon and lead actors, Anika Noni Rose, Wood Harris, Bryce Clyde Jenkins and Harrison Knight grace the red carpet, but the Honorable William A. Bell, Sr., the current Mayor of Birmingham, was there to answer questions on the history of the Civil Rights Movement and share his childhood memories of the city. Walden Media President and Co-Founder, Michael Flaherty opened the post screening talkback with Bell acting as moderator and fielding questions from the audience.
From left – Nikki Silver, Bryce Clyde Jenkins, Anika Noni Rose, Harrison Knight, Tonya Lewis Lee and Kenny Leon
Bell was instrumental in discovering and bringing to Washington a number of iconic artifacts uncovered in the city’s archives and warehouses – a Birmingham Police uniform, helmet and baton; a row of church pews from the 16th Street Baptist Church reminiscent of the church bombing that killed four little girls; “White” and “Colored” segregated water fountains; and arrest records from the historic marches.
Birmingham Police uniform and baton — The 6th and 7th grade students from Whittier Education Campus in DC’s Ward 4 with teacher Keith Gill
Displayed in dioramas around the Newseum’s lobby, you can view them up close until they find a permanent home. It is hoped they will be part of the Smithsonian’s new National Museum of African American Culture and History opening on the National Mall in 2015.
In case you missed last week’s airing you can catch encore showings on 9/27 and 10/11 at 8 PM EST on the Hallmark Channel.
Given its title one might imagine Arena Stage’s Artistic Director Molly Smith deliberately timed this piece to reflect the beginning of the fall season. But The Velocity of Autumn, a play Smith also directs,is not about the calendar. It is a poignant metaphor on the human condition.
Estelle Parsons as Alexandra and Stephen Spinella as Chris in The Velocity of Autumn – Photo by Teresa Wood
Estelle Parsons plays Alexandra, a crusty old gal living out her days in the Brooklyn brownstone where she raised her three children. She has jerry-rigged her home’s interior with barricades and Molotov cocktails strung together like party lights in order to keep the police, summoned by two of her children, from carting her off to a nursing home. In short she’s preparing to blow herself up and take her Park Slope neighborhood with her.
Once a successful artist Alexandra wants to spend the rest of her life among her books and records in her own home. Her children have other ideas as to where she should live. The two-person play (with phone updates from the panicked siblings), an often-prickly conversation between Christopher and his mother, is weighted with gallows humor. “I will set myself on fire,” she threatens, toying with an old Zippo lighter while grasping a homemade explosive. “Then I’ll bring the marshmallows,” Christopher quips, modeling his mother’s dark sense of humor. I won’t reveal the dramatic early entry of the long absent Christopher, tasked by his overly meddlesome siblings, Michael and Jennifer, to talk their mother down from her end-of-the-world scenario. But I will say it clarifies the autumnal reference.
The story is a tender exercise in patience and reconciliation as Alexandra and her estranged son create new bonds while revealing their darkest fears and reflecting on their lives. Snappy one-liners abound, keeping the dialogue from mawkish sentimentality, “Getting you out of diapers was like the Bataan Death March!” While philosophies on aging keep it real, “Old age is just one big surprise. You never know who you are until you get up!”
Estelle Parsons as Alexandra in The Velocity of Autumn – Photo by Teresa Wood
Parsons, best known for her Academy Award-winning performance in Bonnie and Clyde and as Mother Bev on TV’s sitcom Rosanne, has kept her theatre presence active, not only by directing, but also by taking roles scripted by the American theatre’s most revered playwrights such as Tennessee Williams, Arthur Miller, Samuel Beckett and Edward Albee. Her portrayal of Alexandra, a woman of fierce determination, complexity and above all a wry sense of humor, proves that she is one of America’s most brilliant, and funniest, actors.
Stephen Spinella comes to the role of Christopher with a shelf’s worth of Tony and Drama Desk Awards. His sensitive performance as the wayward son returning to the fold to mitigate disaster and reconnect with his mother, is genuine and deeply affecting.
Playwright Eric Coble’s The Velocity of Autumn, part of a trilogy of “Alexandra” plays, gives us a memorable night of pure, unadulterated theatre that will resonate mightily – – not only with caregivers and the elderly, but for all those seeking grace and meaning in a fast-moving world.
The Velocity of Autumn at Arena Stage at the Mead Center for American Theater. Illustration by André Carrilho
Through October 20th at Arena Stage, 1101 Sixth St., SW, Washington, DC 20024. For tickets and information call 202 484-0247 or visit www.ArenaStage.org.
Cary Pollak for Whisk and Quill
September 20, 2013
Every time we turn around Jose Andres and his ThinkFoodGroup are launching exciting and imaginative projects. From September 22nd to October 5thZaytinya restaurant will hold its third annual Grape Festival showcasing this versatile fruit in Mediterranean cuisine. Recently the internationally renowned chef and entrepreneur launched a new line of Spanish foods including deluxe olive oil, sherry vinegar, mussels, tuna and more. Look for them at Whole Foods or order on line at www.joseandresfoods.com. More on these gourmet treats in the next “Nibbles and Sips Around Town”.
Fourteen days dedicated to promoting the glories of the grape begin on September 22rd at Zaytinya, when Head Chef Michael Costa will prepare a wine dinner highlighting the wines of northern Greece from famed producer Ktima Pavlidis.
Order up for Head Chef Michael Costa and his team at Zaytinya
Many unique wines and spirits from around the Mediterranean are on the agenda. On September 25th from 5 till 7:00 p.m. complimentary tastings will feature Lebanese wines; Turkish wines will be showcased on the 26th; wines from Greece on October 2nd; and spirits distilled from grapes will be sampled on October 3rd.
On Monday, September 30th the “Zaytinya Road Trips 2013” dinnerwill be led by ThinkFoodGroup’s Wine Director, Lucas Payá, along with Zaytinya’s Beverage Manager, Daniella Senior, who will share highlights of remarkable wine experiences from their recent travels through Greece.
Grapes take a star turn in these delicious nibbles
We had a chance to savor a few of the innovative dishes that originate from early culinary traditions and that will be on the menu throughout the festival. Mutancene, is a preparation made with lamb shoulder sourced from Virginia’s Border Springs Farm and calls for braising the lamb in honey and grape vinegar with almonds, dried plums and apricots. This truly is a regal recipe, a version of which was served in the 16th century at the court of Ottoman Sultan, Suleiman the Magnificent.
Prawns Arak, another delicious offering, is prepared with head-on shrimp sautéed in arak, roasted grapes, red Fresno chiles and aromatic herbs. Arak is an aniseed-flavored alcoholic spirit popular in the Middle East. Also on the menu is Muscat Grape Granita, an orange flower scented yogurt espuma with candied orange and lemon verbena.
Hamachi crudo topped with grapes and sea beans
“There’s More Than One Way to Skinos a Grape” is a whimsical cocktail created for the festival. Skinos is a liqueur made from the resinous sap produced from the mastic tree and used in cooking. Here it is combined with verjus, the juice of unripe grapes, Dolin Blanc Vermouth, Fee Brothers Old-Fashioned Bitters, a lemon twist and a garnish of a frozen peeled grape. Cleopatra would be most pleased.
Roz White as Sadie and Margo Moorer as Nella in Gee’s Bend – Photo credit Chris Banks
“I had a vision. Like the story passed down by my grandfather,” says Sadie Pettway, though she wasn’t a Pettway yet, at least not till she met the smooth-talking Macon, a man with dreams as big as hers and a determination to make her his wife. “He’s got big plans for land and babies,” she boasts to her sister Nella. As in most of the scenes Sadie, Nella, their mother Alice, and husband Macon sing their stories – – stories of survival and stories of hope told in authentic gospel music and reflected in their hand-sewn quilts. You’ll hear “How I Got Over”, “Banks of Jordan”, “He’s All I Need” and many more as the music reflects the both the period and the emotion.
Anthony Manough as Macon and Roz White as Sadie – Photo credit Chris Banks
MetroStage’s longtime Music Directors, William Hubbard and William Knowles have added eight traditional gospel songs to the four from the original production of Gee’s Bend to create a powerful, soul-stirring, come-to-Jesus experience that reaches deep into your spirit and claws its way beyond the heavens. But that doesn’t mean there’s no sass. The sisters snipe at each other about men, morals and momma and as Nella tells Sadie, “It don’t matter what a quilt looks like. It’s what you do under it!”
The play slash musical (Artistic Director Carolyn Griffin is still puzzling out how to categorize it) is set in Gee’s Bend, Alabama, a real place separated from the mainland by a rickety unpredictable ferry and a surrounding river. Named for former slave owner, Joseph Gee, it’s situated smack dab in the cradle of Dr. King’s movement – a bus ride from Selma and the historic march that Sadie longs to be a part of. The play spans the years from 1939 to 2002 focusing on the Pettway family, generations of former slaves whose land holdings and civil rights were dearly bought and fought for.
Margo Moorer (Nella), Roz White (Sadie) and Duyen Washington (Alice) – Photo credit Chris Banks
Duyen Washington plays Alice (and later niece, Asia) a wise matriarch who tries to train her daughters to be good housewives and even better quilters. (The play’s many-colored quilts are as authentic as it gets and are from the original production at the Alabama Shakespeare Festival.) Washington crafts a beautiful portrait of a woman with little but her heart to give her girls. Roz White, whose legendary voice has been heard in countless MetroStage productions from Three Sistahs, Cool Papa’s Party, Pearl Bailey…by request to her most recent role as Billie Holiday in Ladies Swing the Blues, gives us the stalwart Sadie, a perfect foil to her devil-may-care sister Nella played by Margo Moorer whose stage credits rival her film credits in such movies as Forrest Gump, Tyler Perry’s House of Payne. The movie The Watsons Go to Birmingham, in which she plays Mrs. Davidson, has its red carpet debut this week in Washington, DC.
Anthony Manough (Macon), Duyen Washington (Alice), Margo Moorer (Nella), Roz White (Sadie) – Photo credit Chris Banks
Anthony Manough crafts a likeable but hard-hearted Macon, an ambitious man, who forgets the grim lessons of his youth as he tries to keep Sadie from her mission to register to vote. Manough, too, has appeared in numerous MetroStage productions (as well as on Broadway in The Lion King and Jesus Christ Superstar), lending his virtuoso voice and musical talents as Charlie Parker in Ladies Swing the Blues.
Percussionist Greg Holloway handily backs up the amazing a capella singers with African-inspired gospel rhythms and cleverly imagined sound effects. Thomas W. Jones II, the writer, director and actor who has received a combined 42 Helen Hayes Award nominations, directs the stellar cast to achieve a richly textured evening of song and soul marked by redemption and transformation.
Highly recommended.
At MetroStage through November 3rd – 1201 North Royal Street, Alexandria, 22314. For tickets and information visit www.metrostage.org.
When Lillian Hellman wrote The Children’s Hourin 1934, it was a very different time…or was it? Hellman was an original, a maverick whose anti-fascist writings branded her a communist and who was later summoned to the House Un-American Activities Committee to inform on her fellow writers. Her response to HUAC revealed an early feminist who would defend her rights and those of others. In her writings Hellman concerned herself with social issues of the day, in this drama she points the spotlight on intolerance and fear mongering.
Katelyn Wattendorf (Mary), Ellie Milewski (Evelyn), Cynthia >Mullins (Peggy) and Jenni Patton (Rosalie) – photo credit to Michael deBlois
In Port City Playhouse’s latest production, a willful girl claims to have seen and/or heard, depending on her revisionist fantasies, a liaison between the two headmistresses at her posh boarding school. The cast includes nine schoolgirls, a daft aunt, a wealthy grandmother and her housemaid, and a doctor, fiancé to one of the two headmistresses. The play is based on factual events that occurred at a girl’s boarding school in Edinburgh, Scotland in 1809.
Mary Tilford is the original “Bad Seed”. “I’m always getting punished for everything,” she whines to her gullible grandmother in hopes of leaving school. As she ratchets up her stories to make her case, “They’ll kill me. They’ve got secrets…funny ones.” the old lady softens, believing her scandalous tale. When she spreads the vicious lies to all the children’s parents, it brings about the destruction of the headmistresses’ reputations and that of their newly established school.
Carole Steele (Mrs. Tilford) & Katelyn Wattendorf (Mary) – photo credit to Michael deBlois.
The story is gripping and, despite some uneven performances, is a fine play that you may remember was turned into a movie in 1961 starring Audrey Hepburn and Shirley MacLaine, with James Garner in the role of the doctor and cousin to Mrs. Tilford.
Katelyn Wattendorf is commanding as the evil-minded and manipulative Mary Tilford, a sociopathic bully who threatens and cajoles in equal measure. Jenni Patton, who plays Mary’s tortured schoolmate, Rosalie Wells, provides the perfect counterbalance with a convincing performance as Mary’s handmaiden. Michelle McBeth playing Karen Wright, headmistress and fiancée to Dr. Cardin, and Chelsey Megli as her cohort Martha Dobie give nuanced performances as the accused women. Carole Steele in the role of the unduly moralistic Amelia Tilford contributes the right measure of grace and iron will to the supercilious nosy parker, while Robin Ann Carter, who was unsteady as the eccentric Mrs. Mortar, played it for laughs in flamboyant Auntie Mame style. Unfortunately the slow pace in the second act threatened to derail the dramatic buildup. Hopefully the kinks will be ironed out by next weekend’s performances.
Chesley Megli (Martha Dobie) & Michelle McBeth (Karen Wright) – photo credit to Michael deBlois
A clever set design by Raedun de Alba serves as both living room and classroom at the school, and later, gussied up with lace and bric-a-brac, as Mrs. Tilford’s drawing room. Scenes with the girls playing at Bonnie and Clyde and reading aloud scenes from Shakespeare’s Antony and Cleopatra lend credence to Hellman’s reimagined setting at a girl’s school in Lancet, Massachusetts in 1934. Costume designs by Kit Sibley and Jean Schlichting echo the prim school uniforms and dowager dresses and lace-up footwear of the day.
At Port City Playhouse at The Lab at Convergence, 1819 North Quaker Lane, Alexandria, VA 22302. Performances are on the following dates – Sept. 13, 14, 20, 21, 24, 27 & 28 at 8:00 p.m. Matinees on Sept. 21 & 28 at 2pm. For tickets and information visit www.portcityplayhouse.org.
