‘MELISSA ETHERIDGE: MY WINDOW’: Melissa Etheridge. Photo: Jenny Anderson.

MELISSA ETHERIDGE: MY WINDOW
Written by Melissa Etheridge with Linda Wallem Etheridge
Directed by Amy Tinkham
Through November 19, 2023
Circle in the Square Theatre
https://melissaetheridge.com/
 

By Scott Harrah

One doesn’t have to be a fan of rock icon Melissa Etheridge to appreciate her many musical talents and contributions to American pop culture since her 1988 debut album. Even those unfamiliar with the artist or her work will revere her for the music and her story of overcoming adversity after watching her one-woman Broadway concert confessional, Melissa Etheridge: My Window. Although she was hardly the first female rocker—she arrived on the American scene years after such icons as Pat Benatar, Stevie Nicks of Fleetwood Mac, Debbie Harry of Blondie, Chrissie Hynde of the Pretenders and Tina Turner held their own in a sea of testosterone—Ms. Etheridge still shattered musical glass ceilings in the 1980s and 1990s for women, especially lesbian women. She was one of many women who came of age and made it big when the rock scene was mostly male-dominated. Ms. Etheridge commands our respect from the moment she steps on stage. She is not afraid to tell us her age and her birthday in 1961, the same birthday she shares with her older sister.

Ms. Etheridge opens the first act talking about growing up in Leavenworth, Kansas—home of the famous United States Penitentiary and also the U.S. Army’s Fort Leavenworth with its adjacent military prison—with a supportive father who was a schoolteacher, and a distant, emotionally aloof mother who worked as a computer programmer.  Young “Missy” (as she was called by her family) falls in love with pop music when she hears the Beatles’ “I Wanna Hold Your Hand” on the radio at age three. She later learns to play guitar and is encouraged by her father to pursue her dream of becoming a professional musician. By the time she’s in high school, she has played music for the inmates at the Leavenworth prison and is soon playing with bands in local bars, and her loving father is behind her every step of the way—he accompanies her at gigs because she’s not legally old enough to be performing in places that serve alcohol.  However, her mother is not exactly thrilled about young Melissa spending weekends playing music in bars.  All of Act One is consistently compelling, with Ms. Etheridge vividly recounting her middle-class Midwestern childhood and teenage years with searing honesty and emotion. Now in her early 60s, Ms. Etheridge hasn’t lost any of her charming, bad-girl spunk and she is still in fine, raspy voice.

She recalls being sent off to Boston to attend the Berklee College of Music. She was not really interested in studying and started meeting “out” lesbians for the first time ever, starting first with her college dorm roommate from New York City. She played music and sang at local bars in Boston, including lesbian bars. She dropped out of Berklee after three semesters and moved back home to Kansas briefly, but after her mother discovered she was gay, Melissa was told she was “not welcome” at the family home in a rather cruel and dismissive note. Melissa recalls telling her father that she is gay and he’s more accepting because her dad is much more open-minded.  She then heads to Los Angeles to pursue her music career. Life in California is a struggle, but she manages to land a job playing music a few nights a week at a lesbian bar in Long Beach. It is at this bar that Melissa is eventually “discovered” and immediately offered a record contract by Chris Blackwell of Island Records.  She recorded her first album with Island Records, the eponymous Melissa Etheridge in 1988, with the hit single “Bring Me Some Water.” The song and album received major radio airplay and earned her a Grammy Award nomination. While she was on the way “up” to mainstream success, she was not “out” as a lesbian professionally yet.

The retelling of Ms. Etheridge’s early years and her road to success in Act One holds the audience’s interest throughout, and she sings early hits and covers songs she admires such as “On Broadway,” and as the show breaks for intermission, we are left in high anticipation for Act Two because the first half of the show is engaging enough to leave us wanting more, as we know that most of her big hits will be in the latter part of My Window.

Act Two starts out promising, with Ms. Etheridge performing some of her signature songs like “I Want to Come Over’ and “I’m the Only One” from her mega-smash hit 1993 album Yes, I Am. Of course, her most famous hit, “Come to My Window,” is included, but later in the show. Ms. Etheridge talks about the highs and lows of her career after “making it,” from her many lovers to grappling with her father’s death from cancer in the early 1990s to her own battle with breast cancer in 2004.

She discusses officially coming out at the first LGBTQ+ inaugural ball for President Bill Clinton to winning a Grammy Award and eventually an Oscar for the song “I Need to Wake Up” that she wrote and performed for Al Gore’s climate change film An Inconvenient Truth in 2006. It is somewhat disappointing that Ms. Etheridge (who co-wrote the show’s book with her wife, Linda Wallem Etheridge) chose to pad up the second act with filler like a cover of Janis Joplin’s “Piece of My Heart” (which she performed at the 2005 Grammy Awards). She also goes a bit overboard with a story about “tripping” after eating cannabis brownies and having an out-of-body experience and then sings a lesser-known song, complete with psychedelic projections on the stage. In moments like this—when she dwells on some hippie-dippy psychobabble about intergalactic cats that even confused her girlfriend at the time (don’t ask!)—she loses the audience. Perhaps director Amy Tinkham should have trimmed out the show’s more self-indulgent moments because at two and a half hours with an intermission, My Window is a bit long and might work better as a streamlined, fine-tuned 90-minute one act.

However, Ms. Etheridge makes up for the distractions in other parts of the show, especially when she goes out into the audience to sing directly to her fans. In addition, her personal stories about losing her first-born son at age 21 to a fentanyl overdose in 2021 during the pandemic, anecdotes about her many failed relationships, and her regrets about not spending more time with her children—are all heartfelt and painful, and show she’s brave enough to share some of her life’s darkest moments.

Melissa Etheridge: My Window is an ambitious and insightful look at Melissa Etheridge that, like the artist herself, isn’t perfect but still has a lot of heart and soul.

Edited by Scott Harrah
Published October 8, 2023
Reviewed at October 6, 2023 press performance.

‘MELISSA ETHERIDGE: MY WINDOW’: Melissa Etheridge. Photo: Jenny Anderson.

”MELISSA ETHERIDGE: MY WINDOW’: Kate Owens & Melissa Etheridge. Photo: Jenny Anderson.

‘MELISSA ETHERIDGE: MY WINDOW’: Melissa Etheridge. Photo: Jenny Anderson.

‘MELISSA ETHERIDGE: MY WINDOW’: Melissa Etheridge. Photo: Jenny Anderson.

‘MELISSA ETHERIDGE: MY WINDOW’: Melissa Etheridge. Photo: Jenny Anderson.

‘MELISSA ETHERIDGE: MY WINDOW’: Melissa Etheridge. Photo: Jenny Anderson.

‘MELISSA ETHERIDGE: MY WINDOW’: Melissa Etheridge. Photo: Jenny Anderson.

‘MELISSA ETHERIDGE: MY WINDOW’: Melissa Etheridge. Photo: Jenny Anderson.

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‘A STRANGE LOOP’: (left to right): James Jackson Jr., L Morgan Lee, Antwayn Hopper, John-Andrew Morrison, Jaquel Spivey, Jason Veasey & John-Michael Lyles. Photo: Marc J. Franklin.

A STRANGE LOOP
Book, music & lyrics by Michael R. Jackson
Directed by Stephen Brackett
Lyceum Theatre
149 West 45th Street
(212-239-6200), www.StrangeLoopMusical.com

By David NouNou

What one expects from A Strange Loop going into the theatre is completely different from what one gets coming out. The expectations going in are for a “Big, Black & Queer American Musical!” as the poster tells us, a laugh riot, and in fact it is just that for the first half. The agony comes in the second part; of what it’s like to “travel the world in a fat, Black, queer body” and the pressures that go with it in the first song sung by Usher, “Intermission Song.”

Our hero, Usher (Jaquel Spivey) is an usher at Disney’s The Lion King and can barely make a living with this job. In addition, Usher carries a lot of baggage consisting of a chorus of six people in his head named Thought 1 through Thought 6. These thoughts play many parts: including his father and mother, both named after The Lion King characters. Some thoughts remind him of his self-loathing, student loans, issues on Black pride and his repressed sexuality. Various others comment on the show Usher is writing a musical about a gay Black man writing a musical about a gay black man to be named A Strange Loop, about that never-ending loop that man travels throughout his life.

Usher is further burdened by the guilt injected by his mother of how much she has sacrificed in raising him and in return wants him to write a Tyler Perry-style Gospel play with Jesus bringing salvation. Usher wishes he could be more like his “inner white girl” because they are free to do what they want, instead of being held back by expectations put on Black boys.

Usher at this point goes to his doctor for a physical and is asked about his sex life. This scene is a scream. To follow the doctors’ orders to find sex, he goes on various gay apps only to be rejected as being too Black, too fat, too feminine, and for having a small appendage. It’s around this point that the hilarity stops, and the truth that hurts starts appearing. Usher is outraged not only by his parents’ outlook on homosexuality; in addition, he now has to contend with the way the gay community discriminates against people with shortcomings.

Usher goes down a spiral of self-humiliating acts to finally find redemption and be able to live this strange loop he calls his life and how to bring an end to his show. Even when he brings an end to the show, what next, how will that loop of life still continue?

Michael R. Jackson won the 2020 Pulitzer Prize for Drama for this odyssey and is most deserving. The way he has interwoven the hilarity and tragedy, inner thoughts vs outer reality, faith, religion and family in one huge tapestry is profound. He has given us the best and most unsettling piece of theatre of what a Black, fat, awkward gay man has to deal with on a daily basis and his inner thoughts are his worst enemy.

Mr. Jackson has written the book as well as the score. The book is most unsettling toward the end as is intended, but the score always explains the thoughts and the situations that are taking place. It is both clever and thought-provoking. For some audiences, it may not have positive results. At times, it is jarring and hard to sit through. Not the type of show that would play well in Florida or Oklahoma.

Jaquel Spivey as Usher is heartbreakingly brilliant. You can see the daily pummeling and humiliation on his expressive face and how he wishes he can change the course of his life for the better. His performance may land him the Tony for Best Actor in a Musical.

Director Stephen Brackett has done an excellent job of arranging the various thoughts: Thought 1 (L. Morgan Lee), Thought 2.( James Jackson Jr.), Thought 3 (John-Michael Lyles), Thought 4 (John Andrew Morrison), Thought 5 (Jason Veasey) and Thought 6 (Antwayn Hopper). They each move around the stage to the beat of their own drum and make a seamless ensemble.

The show is a must-see. You will laugh with glee and be joyously entertained, but be ready for the discomfort to follow. One will be traveling in Usher’s shoes; it will hurt, but ultimately a reward will ensue.

Edited by Scott Harrah
Published May 1, 2022
Reviewed at April 29, 2022 press performance.

‘A STRANGE LOOP’ (left to right): Jason Veasey, James Jackson, Jr., Jaquel Spivey, L Morgan Lee & Antwayn Hopper. Photo: Marc J. Franklin.

‘A STRANGE LOOP’: (left to right) James Jackson Jr., Jason Veasey, John-Michael Lyles, Jaquel Spivey, L Morgan Lee, John-Andrew Morrison & Antwayn Hopper. Photo: Marc J. Franklin.

‘A STRANGE LOOP’: Jaquel Spivey. Photo: Marc J. Franklin.

‘A STRANGE LOOP’: Jaquel Spivey & cast. Photo: Marc J. Franklin.

‘A STRANGE LOOP’: The cast. Photo: Marc J. Franklin.

The post ‘A Strange Loop’: A big, Black queer musical hit appeared first on StageZine.

‘ANGELS IN AMERICA-PERESTROIKA’: Nathan Lane, giving the performance of his career. Photo: Brinkhoff Mogenburg

ANGELS IN AMERICA: PART 1, MILLENNIUM APPROACHES & PART 2, PERESTROIKA
A GAY FANTASIA ON NATIONAL THEMES
By Tony Kushner
Directed by Marianne Elliott
Neil Simon Theatre
250 West 52nd Street
877-598-0955, https://angelsbroadway.com/

By Scott Harrah

There are two main reasons to see this revival of Tony Kushner’s classic two-part AIDS epic, Angels in America, Millennium Approaches and Perestroika. The first part is a masterpiece and one of the most provocative American plays of all time. Finally, the cast is superb and many of the performances are among the best in the past decade.

Both plays can be either seen in two parts on two separate evenings or on “marathon” days, when both Part 1, Millennium Approaches and Part 2, Perestroika are shown consecutively in repertory in the matinee and evening performances, at a total running time of nearly eight hours, with two intermissions in each part. If you decide to see only one part, Millennium Approaches is the better of the two because it is a seamless depiction of the early days of the AIDS pandemic. Mr. Kushner’s intricately constructed play is a heartbreaking visit back to that dark period for gay men in 1980s America, particularly poignant for those of us who lived through it, and of rich and important historical value for younger audience members who have never known someone who died of AIDS.

Millennium Approaches revolves around the stories of gay couple Louis Ironson (James McArdle) and his lover Prior Walter (Andrew Garfield), who is dying of AIDS; and “straight” couple Joe Pitt (Lee Pace), a Mormon lawyer, and his wife Harper (Denise Gough), a pill-popping housewife. Prior tells Louis he has AIDS, but Louis isn’t able to deal with having a sick lover. Roy Cohn (Nathan Lane), a right-wing lawyer, offers Joe a job in the Justice Department in Washington. However, Joe’s wife Harper, suffering from anxiety and hallucinations and a growing dependence on Valium, does not want to move to Washington.

Joe finds Louis crying in the men’s room one day and this is where the two couples’ lives start to intertwine. The two men begin a friendship, partially because Louis suspects Joe might be gay. In a dream sequence, Harper and Prior meet and she reveals that her husband is a closeted homosexual. She later confronts Joe but he denies being gay.

Meanwhile, Roy receives shocking news from his doctor. The doctor diagnoses Roy as having AIDS. Roy considers gay men weak and refuses to accept that he has AIDS, a “gay” disease. Roy says he will tell people he has “liver cancer,” but his doctor insists his efforts would be better spent acquiring an experimental AIDS drug.

The plot is complicated and has the feel of a classic Greek tragedy, with all of Harper’s hallucinogenic scenes and Roy being visited by the ghost of Ethel Rosenberg (Susan Brown), the American woman he helped put to death based on allegations of Communism and “treason” back in the 1950s.

While Louis shuns his lover and seeks anonymous late-night sex in Central Park, Prior finds some comfort and compassion from his nurse, Belize (Nathan Stewart-Jarrett). Sexual tension grows between Louis and Joe, and Joe eventually makes a surprising revelation to his mother Hannah (Ms. Brown in a dual role) back in Salt Lake City.

Part One ends with a cliffhanger, which anyone familiar with the story already knows (so discussing it is not exactly a spoiler). Prior, growing increasingly ill, has a prophetic vision when an Angel (Amanda Lawrence) crashes through the roof of his apartment and ominously says, “The Great Work begins.”

Part One is a carefully constructed work. However, Part 2, Perestroika, is a much weaker and disappointing show. Harper is hallucinating wildly, imagining she is in Antarctica, but she’s really in Prospect Park, Brooklyn and gets picked up by cops. Joe is not around, but his mother Hannah arrives in New York and takes Harper in, offering her a chance to visit her at the Mormon Visitor’s Center. Hannah is volunteering there.

Roy Cohn grows sicker and is admitted to the hospital where Belize works. Roy starts off making horribly racist comments to the nurse, yet Belize, ever the professional, takes the proverbial high road and offers the dying lawyer advice on his treatment. Later, Prior tells Belize about the Angel.

It is at this point that making sense of Perestroika gets challenging, as the narrative becomes more convoluted. The Angel gives Prior a prophetic book and explains that God abandoned the Angels in Heaven after the San Francisco earthquake in 1906, and they believe they are powered by human sexual activity. Prior is now horrified by the Angel and tries to avoid her.

What makes the story so compelling, in addition to the dark subject matter about how AIDS affected so many, is the skillful way playwright Tony Kushner makes the lives of the characters intersect.

Director Marianne Elliott certainly puts a new spin on Angels in America, but her directorial choices may not please purists familiar with the original production. However, two actors give performances that are first-rate in every sense and help make this a “must-see” revival regardless.

British actress Susan Brown is simply incandescent in her multiple roles, whether she’s playing a rabbi, Hannah the Mormon mother or the ghost of Ethel Rosenberg. Her hospital scene after Roy Cohn’s death, in which Ethel’s ghost recites the mourner’s Kaddish in Hebrew, is truly haunting and eerily touching. Her interpretation of Hannah, the woman torn between her Mormon faith and compassion for her son and Prior grappling with his illness and the Angel, is consistently outstanding and rings with truth.

Andrew Garfield as Prior gives a fine performance, as does Nathan Stewart-Jarrett as the nurse Belize (although he is perhaps a bit too camp in places), and Lee Pace as Joe is superb, but Nathan Lane as Roy Cohn overshadows everyone. New York theatergoers have seen Mr. Lane many times before, but never like this. He is absolutely riveting every moment he is onstage, displaying all the hatred and rage and self-loathing of the Roy Cohn character. Toward the end of Roy’s life, as he is dying in a hospital bed, convulsing as he goes in and out of seizures, Mr. Lane’s interpretation is nothing less than awe-inspiring. This is, without question, the virtuoso stage performance of Nathan Lane’s career.

The original production featured the Angel with realistic-looking traditional wings, but in this revival the Angel, as conceived by puppet designers Finn Cardwell and Nick Barnes, looks more like Rodan, with the wingspan of a 747, about to destroy Tokyo in one of those old Godzilla movies. In addition, six actors alternate playing “Angel Shadows” to hold up the “wings.” The result is silly and distracting and adds nothing to the show. Puppetry may have worked for director Marianne Elliott in War Horse, with its gorgeous horse creations, but this new angle on angel wings just reeks of hubris and pretension here. As the adage goes “less is more,” and that is certainly the case here in an epic saga that is already so complicated, but there is no doubt this revival is a memorable one and should attract new generations of Tony Kushner fans, and will be talked about for many years.

Edited by Scott Harrah
Published March 25, 2018
Reviewed at March 17, 2018 preview performance.

‘ANGELS IN AMERICA-PERESTROIKA’: Beth Malone & the ‘Angel Shadows’ (in dark costumes). Photo: Brinkhoff Mogenburg

‘ANGELS IN AMERICA-MILLENNIUM APPROACHES’: Andrew Garfield & Nathan Stewart-Jarrett. Photo: Brinkhoff Mogenburg

‘ANGELS IN AMERICA-MILLENNIUM APPROACHES’: James McArdle & Nathan Stewart-Jarrett. Photo: Brinkhoff Mogenburg

‘ANGELS IN AMERICA-MILLENNIUM APPROACHES’. Lee Pace. Photo: Brinkhoff Mogenburg

‘ANGELS IN AMERICA-PERESTROIKA’: Susan Brown as Ethel Rosenberg. Photo: Brinkhoff Mogenburg

‘ANGELS IN AMERICA-PERESTROIKA’: James McArdle & Lee Pace. Photo: Brinkhoff Mogenburg

‘ANGELS IN AMERICA-MILLENNIUM APPROACHES’: Nathan Lane & Susan Brown. Photo: Brinkhoff Mogenburg

‘ANGELS IN AMERICA-PERESTROIKA’: Nathan Lane & Nathan Stewart-Jarrett. Photo: Brinkhoff Mogenburg

‘ANGELS IN AMERICA-MILLENNIUM APPROACHES’: Nathan Stewart-Jarrett & Denise Gough. Photo: Brinkhoff Mogenburg

‘ANGELS IN AMERICA-MILLENNIUM APPROACHES’: Susan Brown. Photo: Brinkhoff Mogenburg

‘ANGELS IN AMERICA-PERESTROIKA’: (Front) Andrew Garfield & (back) James McArdle, Susan Brown & Nathan Stewart-Jarrett. Photo: Brinkhoff Mogenburg

The post ‘Angels in America’: Cast soars in revival appeared first on StageZine.

‘FALSETTOS’: Christian Borle & Andrew Rannells. Photo: Joan Marcus

FALSETTOS
Book by William Finn
Music & lyrics by William Finn & James Lapine
Directed by James Lapine
Through January 8, 2017
Walter Kerr Theatre
219 W. 48th Street
800-982-2787, www.lct.org

By Scott Harrah

The individual turmoil of characters, their neuroses and raw emotions, sung via melodic songs, are all at the heart of this superb revival of the William Finn-James Lapine musical. Falsettos remains a fresh, authentic slice of unconventional New York life, despite the fact that its characters lived decades ago. It originally appeared on Broadway in 1992 as a package of two earlier off-Broadway plays, March of the Falsettos and Falsettoland. Although parts of this mostly sung-through musical depict the troubles of another era, this outstanding production never feels dated.

Part of the show’s timelessness must be attributed to the stellar performances by a cast of Broadway veterans, but Mr. Finn and Mr. Lapine’s story about Marvin (Christian Borle), a man who wants to have it all (a wife, a child, and a male lover), was truly ahead of its time, written long before marriage equality and tales of nontraditional families became commonplace

The show opens in 1979 with Marvin about to leave his wife Trina (Stephanie J. Block) for a man, Whizzer (Andrew Rannells). Marvin and Trina’s young son Jason (Anthony Rosenthal) is caught in the middle of the maelstrom.  Meanwhile, the family’s psychiatrist Mendel (Brandon Uranowitz) starts a romance with Trina. In addition to the obvious LGBT theme, Falsettos also relies heavily on celebrating the Jewish New Yorker sensibility, particularly in the opening number “Four Jews in a Room Bitching.”  In fact, one of the reasons why the show holds up so well in 2016 is because it’s far more than merely a musical chronicle of a dysfunctional family and homosexuality. Everything from chess playing to Little League baseball is thrown into the mix. David Rockwell’s clever, simplistic sets frame everything wonderfully, with a cartoonish Manhattan skyline and what appears to be a giant 1980s Rubik’s Cube (remember them?) that is gradually taken apart at times to depict different settings.

Much of the narrative unfolds through song, and although Mr. Finn’s music and lyrics are repetitious at times, most songs are infectious and reveal each character’s feelings and frustrations vividly. One of the show’s best moments is Stephanie J. Block belting out the showstopper “I’m Breaking Down,”with lyrics that are humorous but also reveal her heartbreak when she sings, “He’s a queen/I’m a queen/Where is our crown?” 

Other highlights include “Marvin at the Psychiatrist (a Three Part Mini-Opera),” in which Marvin sings (along with Mendel, Jason and Whizzer) about all the reasons he needs psychotherapy.  In “March of the Falsettos,” all four male characters sing, in the titular falsetto voice to match Jason’s prepubescent tone, about the different aspects of masculinity.  Here it’s done cleverly with the guys all sporting fluorescent clothes, frolicking under black light. Pointless perhaps, but still great fun to watch.

While the first act focuses on family dysfunction, Act Two takes us to 1981. Marvin has split up with Whizzer and now lives next door to two lesbians, Dr. Charlotte (Tracie Thoms), an internist, and her lover Cordelia (Betsy Wolfe), a caterer specializing in “nouvelle” kosher cuisine.

Soon Whizzer becomes ill and enters the hospital.  At the same time, Marvin and Trina are nagging Jason about how he wishes to celebrate his bar mitzvah. To give any more detail would spoil the bittersweet twist of the tragic ending, but the final songs are some of the best, including Whizzer’s “You Gotta Die Sometime” and Marvin and Whizzer’s “What Would I Do?”

Mr. Borle makes a big departure here from his comic roles in Peter and the Starcatcher and Something Rotten as the self-absorbed, hopelessly neurotic Marvin.  Mr. Rannells, of Book of Mormon and Girls fame, is equally effective as Whizzer, and emotionally powerful in the show’s final songs.

The show’s biggest asset, however, is Stephanie J. Block.  Although she’s established herself on Broadway in a number of roles, Ms. Block gives the performance of her career as Trina, and she’ll certainly be a contender for all the awards in the spring. There is a haunting sincerity to Ms. Block’s Trina because, in every song she sings, from “I’m Breaking Down” to “Trina’s Song,” one feels her character’s helplessness in everything from her mannerisms (particularly the hilarious way she slices up a banana) to the beautiful, plaintive tone in her vocals.

Director James Lapine understands the scale of tragedy that was so rampant in AIDS-era New York, and his direction highlights the humanity, quirks and vulnerabilities of these characters’ lives and sheds humor and truth on them without coming across as heavy-handed.  Perhaps that’s why Falsettos can now be called a true classic.

Edited by Scott Harrah
Published November 7, 2016
Reviewed at press performance on November 6, 2016

‘FALSETTOS’: (left to right) Betsy Wolfe, Andrew Rannells, Christian Borle & Tracie Thoms. Photo: Joan Marcus

‘FALSETTOS’: Stephanie J. Block & Brandon Uranowitz. Photo: Joan Marcus

‘FALSETTOS’: Betsy Wolfe & Tracie Thoms. Photo: Joan Marcus

‘FALSETTOS’: Anthony Rosenthal & Christian Borle. Photo: Joan Marcus

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