Never mind that she’s best known as a dramatic TV actress — dubbed “the First Lady of Knots Landing” for her portrayal as Karen on that long-running prime-time CBS soap from the ’80s — Michele Lee styles herself as a funny lady.
“I wish I could be half-comedian, but I’m probably 10-percent comedian,” Lee cracks during a phone interview from New York, one she wishes could have been face-to-face, over lunch — or better yet, cocktails. “Oh yeah, let’s go to cocktails,” she says. “Forget that lunch thing.”
Lee is a hoot, an all-around, honest-to-goodness entertainer, the likes of which you don’t often see these days. Born Michele Lee Dusick, Lee got her start on Broadway at the age of 19 with small roles in plays and musicals, including How to Succeed in Business Without Really Trying. She recently returned to Broadway, as Madame Morrible in the long-running Wicked.
This Friday, Nov. 6, Lee performs a one-woman show as part of Barbara Cook’s Spotlight cabaret series at the Kennedy Center. The focus is on the music of Broadway composer Cy Coleman, whose 1973 musical See Saw earned Lee her first Tony nod. “Cy Coleman was an incredible artist,” she says. “The songs that I’ve chosen tell just a wonderful story about all his music…and my personal stories with him.”
Lee was going to perform a cabaret focused more on her varied career, but the brand-new Coleman show got such “fabulous reviews in New York,” she opted to go with it instead. Lee says she’d be delighted to come back to the Kennedy Center to perform her more personal cabaret, which includes a salute to Knots Landing. Asked if that cabaret also includes reference to another role in particular, from the hit 1968 Disney movie featuring a cognizant car, Lee just laughs. “There’s no song in The Love Bug that I would sing. But I do tell some funny stories about it.”
Imaginative and powerfully delivered, the Washington National Opera's Macbeth is the opera to drop everything and see. Verdi's gorgeously dramatic distillation of Shakespeare's tragedy is already ever-so-accessible, the dark and swooping grandeur of his score the perfect medium for the tale's high drama and mystery.
Add director Brenna Corner's elegantly innovative vision and this is classical opera for the 21st century at its best: so good it needs no compromises. If you have even the slightest interest in seeing the real deal, this is the one for you. If you are already in, this will be a treasure trove of pleasures.
Opera may not be the nimblest of the arts, but in choosing Beethovenβs Fidelio, Francesca Zambelloβs production lands right on time.
From the operaβs theme of political imprisonment to S. Katy Tuckerβs haunting intro projections of prisons, actual political prisoners, and snippets of poignant Constitutional rights, its relevance is given in no uncertain terms.
Indeed, reports that a particular presidential candidate has discussed using the military to control the βenemy withinβ only adds to its prescience.
That said, Zambelloβs potent vision isnβt quite enough to lift this production beyond more than a few inspired moments and the chance to hear conductor Robert Spano deliver the composerβs only opera (an experience Beethoven hated so much, he vowed never to attempt another one).
βIt's all about nourishing yourself -- mind, body, and soul through the arts,β says Kate Villa. The Kennedy Centerβs Director of Comedy and Institutional Programming is telling me about βNourish,β an array of events centered on βthe profound impact of food and artistic expression on our lives.β
The arts and wellness festival, which places a strong emphasis on food, runs through the end of October at the nationβs performing arts center in Washington, D.C.
βI'm excited to bring in the culinary arts because it's something that's underappreciated as an art form,β Villa, her jet-black hair styled in a short, Ina Garten-inspired bob, says during an energetic and wide-ranging conversation one crisp fall morning.
These are challenging times for news organizations. And yet itβs crucial we stay active and provide vital resources and information to both our local readers and the world. So wonβt you please take a moment and consider supporting Metro Weekly with a membership? For as little as $5 a month, you can help ensure Metro Weekly magazine and MetroWeekly.com remain free, viable resources as we provide the best, most diverse, culturally-resonant LGBTQ coverage in both the D.C. region and around the world. Memberships come with exclusive perks and discounts, your own personal digital delivery of each weekβs magazine (and an archive), access to our Member's Lounge when it launches this fall, and exclusive members-only items like Metro Weekly Membership Mugs and Tote Bags! Check out all our membership levels here and please join us today!
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