After my trip to the Dogwood Collection earlier this month to get a snap of the plaque honoring Louisa King, I returned to get a look at the trees in bloom. Protip: The garden was peopleless at 8:00 of a Saturday morning, right after the gates opened.
This play is not the first to treat its audience like children, but it is perhaps the first to do so literally, when the house lights come up and the house is addressed as a fifth-grade class beginning a teaching unit on the American Civil War.
Shallow, lacking nuance, weakly manipulative, and not nearly as shocking as it wants to be, the piece is not without its good moments.
Underground Railroad Game, by Jennifer Kidwell and Scott R. Sheppard with Lightning Rod Special, directed by Taibi Magar, Woolly Mammoth Theatre Company, Washington
Neil Fitzpatrick and Bill Yeaman led a walk to Rock Creek and the fish ladder established in 2007 to enable migratory river herring to swim around the man-made barrier of the dam at Peirce Mill. And our luck was great! Despite some muddy conditions in the stream, many Gizzard Shad (Dorosoma cepedianum) could be seen, working their way upstream. Alas, no acceptable photos acquired. (Note to future self: bring a longer lens and a little more patience.)
On our walk down the somewhat trippy Melvin Hazen Trail, the group spotted a single Louisiana Waterthrush (Seiurus motacilla).
The birds appear to have hit the snooze button in response to the variable weather conditions. None of the nest has hatched out yet, while three new nests have started. Ever-popular box #62 is still incubating.
Unfortunately, it appears that the nest in box #67 has been abandoned. And the predator guard for box #60 was no match for a determined Common Raccoon (Procyon lotor), who consumed the eggs in the box. Box #60 is set rather low to the ground, on the bank of the channel; we should think about raising it or otherwise repositioning it.
We chased some paper wasps from box #67. I was cautious about seeing a wasp with yellow bands on the abdomen (as well as some wasps showing the more common all-black coloration), but it seems that several of the Polistes wasps in our area may show that feature, including the introduced P. dominula.
Benjamin Strauss et al. present a harrowing quiz: outline maps of various coastal states under one possible climate change scenario, in which sea level rises by 170 feet over the coming millennia. The geophysical boundary between Coastal Plain and Piedmont is unmistakable; farther south, other states would be obliterated.
At a small gathering/party of friends, Tom has put a recording of Cecil Taylor on the sound system.
TOM. But I don’t know if you can hear it, but I mean, he’s literally rethinking what you can do with melody. He’s changing all the rules from the ground up.
* * *
TOM. Like a painter. He’s breaking it up, you know, and putting some parts of it in front of where they belong and he’s splitting up tonalities and colors, shapes —
ALICE. Splitting up did you say?
ALICE. No, I know, I was…
TOM. He’s literally challenging you to hear it, you know, rehear it. What is music?
GRIEVER. No, I know, but this isn’t like a famous melody? Or –?
TOM. Why not?
GRIEVER. I mean it isn’t like “Raindrops on roses and whiskers on kittens” backwards or something.
For some reason I always want to remember that as “‘Mairzy Doats’ upside down and backwards.”
The Hub’s simple staging well serves Craig Wright’s wistful, spiritual three-hander, using a single movable set piece (a bench attached to pair of dock railings) to achieve some variety and levels. Helen R. Murray’s Kari shows some flintiness; but she takes her time with Kari’s tender, giddy closing monologue (“Do you remember that day in the spring of junior year…?”) and the result is masterful. Nora Achrati is called upon to embody a gaggle of different Pine City, Minnesota denizens, and she does a good job with the more naive characters like Pudge and Lisa, but she lacks the gravel and venom that Carla needs. Her second act opening monologue is quite thoughtful and fine.
Director Kelsey Mesa has chosen to present the show without the scripted intermission, blunting the force of Kari’s explosive first act closer.
The Pavilion, by Craig Wright, directed by Kelsey Mesa, the Hub Theatre, Fairfax, Va.
Deep shadows cast by the house lights make this black box performance space a bit too literal.