Marc-Andrea Huesler of Switzerland continued his fine run of form on the ATP Challenger spring swing in Mexico by reaching the second round of the San Luis Open BMW. The winner of last week’s Mexico City Open and defending champion in San Luis Potosi defeated Ecuadorian qualifier Roberto Quiroz 7-6(1), 6-3 on packed Tuesday consisting of several long matches.
Huesler, No. 6 seed of the $53,120 clay-court tournament, struck eight aces and won 88 per cent of his first-service points to record his sixth consecutive match win after one hour and 24 minutes.
“My confidence has grown after showing that I was able to secure victory again,” said Huesler.
The 25-year-old Zürich native will next take on Chinese teenager Juncheng Shang. The 17-year-old lefty from Beijing emerged victorious from the battle of the qualifiers with Hady Habib from Lebanon, rallying 4-6, 7-6(1), 6-2 in two hours and four minutes.
Nicolas Jarry overcame a bumpy start and edged past Austria’s Gerald Melzer 2-6, 6-3, 7-6(4). The No. 2 seed from Chile won five points less than his opponent but secured victory in two hours and 50 minutes. Jarry will next face Brazilian qualifier Gilbert Klier Junior, who beat 16-year-old local wild card entry Rodrigo Pacheco Mendez 7-6(7), 6-4 in a night session under the lights at the Club Deportivo Potosino after one hour and 38 minutes. The match ended at two am local time.
Zhizhen Zhang caused the upset of the day by knocking out No. 4 seed Facundo Mena of Argentina 7-6(3), 6-1. The World No. 305 from China saved both break points he faced and converted three of his own nine break-point chances to prevail after one hour and 25 minutes. Zhang plays Nicolas Mejia of Colombia in the second round, who fought past Norwegian alternate Viktor Durasovic 7-5, 6-7(3), 7-6(3) in three hours and 15 minutes.
RESULTS – APRIL 12, 2022 Singles – First Round [2] N. Jarry (CHI) d G. Melzer (AUT) 26 63 76(4) Z. Zhang (CHN) d [4] F. Mena (ARG) 76(3) 61 [5] J. Clarke (GBR) d [Q] M. Zukas (ARG) 63 64 [6] M. Huesler (SUI) d [Q] R. Quiroz (ECU) 76(1) 63 [Q] A. Bellier (SUI) d F. Jianu (ROU) 63 36 75 N. Mejia (COL) d [Alt] V. Durasovic (NOR) 75 67(3) 76(3) [Q] J. Shang (CHN) d [Q] H. Habib (LIB) 46 76(1) 62 D. Istomin (UZB) d M. Pucinelli De Almeida (BRA) 67(3) 61 63 F. Meligeni Rodrigues Alves (BRA) d E. Donskoy 76(2) 63 [Q] G. Klier Junior (BRA) d [WC] R. Pacheco Mendez (MEX) 76(7) 64
Doubles – First Round B. Arias (BOL) / F. Zeballos (BOL) d [4] G. Oliveira (POR) / D. Sharan (IND) 75 63 M. Alves (BRA) / E. Escobedo (USA) d J. Clarke (GBR) / P. Krstin (SRB) 64 64 J. Eysseric (FRA) / F. Gaio (ITA) d J. Aragone (USA) / F. Mena (ARG) 64 64
VIO-LENCE – “Let The World Burn” (Metal Blade Records)
Giving the new Vio-lence EP a listen thru. Curious as the thought process of just releasing EPs instead of a album. Maybe it’s to capture a frenetic moment in time instead of a drawn out process.
The 5 song EP consists of the following tracks:
1: Flesh From Bone
2: Screaming Always
4: Gato Negro
5: Let the World Burn
Phil Demmel: Guitar
Bobby Gustafson: Guitar
Christian Olde-Wolbers: Bass
Perry Strickland: Drums
The album was tracked in Trident Studios in Pacheco, California by Juan Urteaga (Machine Head, Exodus), mixed by Tue Madsen (Dark Tranquillity, Heaven Shall Burn) and mastered by Ted Jensen (Alice In Chains, Death Angel).
Track 1 – Flesh From Bone – This track was released about a month ago. It hits heavy right out of the gate. I dig the baseline prevalent in the opening seconds. The guitar work is fantastic. Definitely has a Slayer vibe to it with the initial galloping riff. Sean comes in with his distinct tone and unconventional vocal stylings. It amazes me just a few years ago this man has come so far to be able to belt out these songs let alone perform them live.
Track 2 – Screaming Always – Very similar song to Flesh From Bone but has more the old stylings of Vio-lence with their bay area thrash hip hop-esque chanting. I don’t know how else to say it and it may offend, but there’s this almost rap like quality to Sean’s vocals. I dig it. Always have, it’s definitely different and has this flow like quality juxtaposed to the riffs under it. There is no denying Phil and Bobby are a lethal one, two attack with guitar. The solos seem so fresh and effortless. The break down in this will definitely get the bodies flying. I will admit…the acapella portion of this set me back a moment. I think it is fun and unexpected. Something I really didn’t expect but it allows for a lot of stage diving to take place once it kicks back into the music.
Track 3 – Upon Their Cross – Very brutal song. Just toned down and smashing the guitar. I get a Hatebreed vibe from this. Definitely dances on the hardcore side of metal punk. I only give a comparison to get a sense of where the music hits me. I have no clue who is doing what solo on this track but they are both just perfect. The back and forth between Phil and Bobby on this is a highlight within this EP for sure.
Track 4 – Gato Negro – I was confused by the title of this song. I thought, are they doing a thrash song about some wine Les Claypool is releasing? Once this song gets going though it is fast pace, heavy hitting one of the most fun songs on the EP. Sean’s stylings are never more perfect and exhibited in any other song.
Track 5 – Let the World Burn – Closing out the EP is the title track which just released an official video. All in all, I really dig this track, I think the breakdown within this song wasn’t really my favorite part. I’m sure many will love it. I do like the anticipation built up from it though. I could see myself reverse slamming through the pit at the Omni to this and once the song kicks in, just smashing through the heshers, so for that I applaud the evolution. Again these guitar licks definitely top notch.
Admittedly, I had to set a lot of my political leanings and misgivings I have when listening to this. It sucks so much for me to even consider such nonsense when listening to music, but it comes to light when you have such intense times and so much access to each other. Setting aside all of this and just listening to the fresh music, I was impressed. Sean hasn’t skipped a beat, Demmel/Gustafson are on point.
My biggest complaint…5 tracks just isn’t enough so I ordered every variant on vinyl.
Each month DCist will offer a few theater reviews from around the region and give you our critics’ verdict: whether you should see them, skip them, or at least think about it. Want to know what else is playing? Check out our monthly theater preview.
Six Review by Peter Tabakis
Six is a history lesson presented as a contemporary pop extravaganza, one that shines a spotlight on the women once wedded to Henry VIII. The enthusiasm surrounding the show, five years after its debut at the Edinburgh Festival Fringe, remains palpable. I’ve seen the current touring company, now belting out anthems at the National Theatre, twice in a single week (unplanned, to be clear). Both times an audience, peppered with blissful tweens and confused season-ticket holders, became uniformly rapturous by curtain call.
That sense of joy can be infectious. Six – written by Toby Marlow and Lucy Moss, co-directed by Moss and Jamie Armitage – is a performance cheekily delivered “live in consort.” The production mixes Hedwig and the Angry Inch’s faux concert format with Chicago’s “Cell Block Tango” confessionals. Our fabulous queens – Catherine of Aragon (Khaila Wilcoxon), Anne Boleyn (Storm Lever), Jane Seymour (Jasmine Forsberg), Anne of Cleves (Olivia Donaldson), Katherine Howard (Didi Romero), and Catherine Parr (Gabriela Carrillo) – have harrowing stories to tell, even if they include slangy lyrics (“you’re gonna find out how he got unfriended”) that already feel dated. Each woman gets a show-stopping number that channels other notable queens: Beyoncé, Adele, Britney and Rhianna among them.
Six is proudly maximalist. The spectacle could easily register in nearby Capital One Arena’s nosebleed seats, from Gabriella Slade’s glittery, hybrid Tudor-futuristic costumes; Carrie-Anne Ingrouille’s bouncy choreography; and Emma Bailey and Tim Deiling’s electric combo of scenic and lighting design. In an intimate space like the Broadway-designed National Theatre, this booming tribute to girl power – which includes four badass women musicians in the onstage band — is all the more visceral and, consequently, loud. (A pair of earplugs may be required, depending on your disposition, to at least dampen the ecstatic reactions of legions of pre-pubescent audience members.)
During “Ex-Wives,” Six’s standout opening tune, the queens are reduced to a fate (directly or indirectly) attributed to a shared husband: divorced, beheaded, died, divorced, beheaded, survived. But this is mere misdirection. By the end of an 80-minute celebration, six legends have fully reclaimed and rewritten their legacies.
Verdict: See
Six plays until September 4 at the National Theatre. Tickets range from $65 to $150, with a digital lottery available the day before the designated performance(s). Runtime is 80 minutes with no intermission.
Alex De Bard, left, Christian Montgomery, center and Tyler Dobies star in “tick … tick BOOM!” from Monumental Theatre Company.Chris Mueller / Monumental Theatre
tick, tick,… BOOM! Review by Nicole Hertvik
In 1996, Rent made waves on Broadway, earning composer Jonathan Larson a Pulitzer Prize and three Tony Awards and changing the landscape of musical theater. But in a sad twist of fate, Larson didn’t live to see the success of his now iconic work. He died of an undiagnosed heart condition on the morning of Rent’s first Off-Broadway performance.
Written years before Rent, Larson’s tick, tick… BOOM! did not enjoy the same immediate popularity. It is, by all accounts, a “starter” musical that took on added poignancy in the wake of Larson’s passing. An autobiographical account of Larson’s early adulthood, tick, tick… BOOM! tells the story of Jon, a struggling musical theater artist wondering if he will ever find success writing musicals as his 30th birthday looms.
Monumental Theater Company’s immersive production of tick, tick… BOOM! harnesses the intimate, confessional nature of the show.
Director Michael Windsor’s production breaks the wall between cast and audience. The set (scenic design by Windsor and Yaritza Pacheco) feels like a living room, with couches placed jauntily around coffee tables lit with soft candles. Audience members sit on these set pieces while the actors weave among them, sometimes perching on a sofa with you, sometimes jumping on the coffee table in front of you. It is cleverly constructed immersive theater, but introverts be warned: there is no hiding in this show.
Christian Montgomery plays Jon, the autobiographical Larson, with frank intimacy. Alex De Bard plays Jon’s girlfriend Susan and a myriad of character roles that showcase her acting abilities nicely. (Both Montgomery and De Bard are fresh off successful performances in Olney’s A.D. 16 and anyone who saw them in that show will appreciate this opportunity to hear their clear vocals in such an intimate setting.)
A four-piece rock band accompanies the show onstage conducted by the fabulous Marika Countouris, who plays a mean keyboard.
Monumental’s tick, tick… BOOM! Is a great opportunity to see some of D.C.’s most talented young artists revisit the early work of one of musical theater’s most influential composers.
Verdict: See
Tick, tick… BOOM!From Monumental Theater Company plays at the Ainslie Arts Center on the campus of Episcopal High School in Alexandria through July 31. Tickets are $65. Run time is 90 minutes with no intermission.
“The course of true love never did run smooth.” Hunter Ringsmith (Lysander) and Bryan Barbarin (Demetrius) on left; Lilli Hokama (Hermia) and Renea S. Brown (Helena) on right; and Nubia M. Monks (Titania) and Danaya Esperanza (Puck) (top) act out a scene in Folger Theatre’s A Midsummer Night’s Dream at the National Building Museum.Brittany Diliberto / Folger Theatre
A Midsummer Night’s Dream Review by Lori McCue
A Midsummer Night’s Dream is the Shakespeare play with two couples who wander into the woods and spend a night in a dreamlike state, preyed upon with love potion by a meddling fairy queen.
Now that that’s out of the way, we can get to the real point of this review: How exactly does it work to stage a whole Folger Theatre production inside a museum exhibit? Specifically, inside The Playhouse, the latest blockbuster summer exhibition at the National Building Museum, which transforms the museum’s great hall into a Shakespearean theater. The production — directed by Victor Malana Maog — has already made some on-the-fly changes: Curtain time on press night was pushed back by an hour, because the sun streaming in from the museum’s windows was making the show’s lighting design moot.
The transformation of the vast museum into a colorful fairyland is an appropriate backdrop for Midsummer, a story about magic, hallucinations, and — in one subplot — actually putting on a play. In addition to the show’s quarreling Athenian lovers (played by Bryan Barbarin, Renea S. Brown, Lilli Hokama, and Hunter Ringsmith), who sprint, dance, and literally tackle each other all over the stage, a cast of hilarious actors is rehearsing a play to perform for the king and queen. The play’s star, Bottom (scene-stealer Jacob Ming-Trent), meanwhile, gets caught up in a series of tricks played on him by the mischievous Puck (Danaya Esperanza) and the queen of the fairies (Nubia M. Monks). Through it all, glittering costumes, twinkling lights, and impressive stagecraft tricks keep the world feeling magical. (Though the production hasn’t managed to contend with the less-than-ideal acoustics in the cavernous museum hall.)
The region has no shortage of Midsummers this summer: Synetic Theater and The Arlington Players both staged the Bard’s work this season, too. But this museum-set production is perhaps the only one whose fairy world isn’t just on the stage, but envelops the audience as soon as they walk through the front door.
Verdict: See
A Midsummer Night’s Dream runs at the National Building Museum through Aug. 28; tickets $20-$85. Runtime 90 minutes with no intermission.
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Brazil’s President Jair Bolsonaro on Monday invited dozens of diplomats to the presidential palace to present claims regarding supposed vulnerabilities of the country’s electronic voting system, which electoral authorities have already debunked repeatedly.
Once again, the far-right leader didn’t present any evidence for his claims, which have drawn criticism from the members of the electoral authority and analysts who fear he is laying the groundwork to reject election results.
Bolsonaro faces an uphill battle to win a second term, with all polls showing him trailing well behind former President Luiz Inácio Lula da Silva, who governed Brazil between 2003-2010.
Bolsonaro’s address to diplomats was aired on the state television channel for almost one hour. During that time, he cited a Federal Police report on an alleged hacking into electronic voting machines. Brazil’s electoral authority said in August 2021 that investigators have never relayed to it any indication of fraud.
Brazil has voted with an electronic system since 1996, and authorities have never found any evidence of widespread fraud. Bolsonaro has claimed he was denied outright victory in the first round of the 2018 presidential vote without need for a runoff and, at times, said he possessed proof — which he has never presented.
Bolsonaro also argued that Brazil’s electoral authority should heed advice from the military on potential improvements for the voting system, and reiterated critiques of Supreme Court justices, some of whom are also members of the nation’s electoral authority, suggesting they will favor da Silva.
“People who owe favors to them (da Silva and his Workers’ Party) do not want a transparent electoral system,” Bolsonaro told the assembled diplomats at the meeting in capital Brasilia. “They insist all the time that after the election results are announced your heads-of-state need to recognize them.”
Brazil’s presidential palace didn’t provide information regarding how many diplomats attended the gathering.
Rodrigo Pacheco, the president of Brazil’s Senate, said after Bolsonaro’s meeting that the country’s Congress, “whose members were elected with the current and modern electoral system, is obligated to tell the population that the electronic voting machines will give the nation a trustworthy result.”
Pacheco was elected for the job with Bolsonaro’s support, but last week met with his adversary da Silva in Brasilia.
Non-profit Human Rights Watch said the meeting is yet more evidence that Bolsonaro “continues his dangerous disinformation campaign about the electoral system.”
“The international community should make it clear that any attempt to undermine the democratic system and the rule of law is unacceptable,” it said on Twitter.
In a separate event, the Supreme Court Justice Luiz Edson Fachin, who currently heads Brazil’s electoral authority, said at the local bar association of Parana state that “there is unacceptable electoral denialism by one public figure.”
Fachin added the person is making “very serious allegations of fraud without any evidence.”
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