Stuck on the Tarmac Survival - Part 2 of 3

Once stuck on the plane and waiting for a gate or to take-off, all passengers are at the mercy of the flight crew and luck. The U.S. Department of Transportation has declared some passenger rights for tarmac delays (DOT 199-09):

The new rule prohibits U.S. airlines operating domestic flights from permitting an aircraft to remain on the tarmac for more than three hours without deplaning passengers, with exceptions allowed only for safety or security or if air traffic control advises the pilot in command that returning to the terminal would disrupt airport operations. U.S. carriers operating international flights departing from or arriving in the United States must specify, in advance, their own time limits for deplaning passengers, with the same exceptions applicable.

In a 2007 photo stranded passengers aboard a Jet Blue Flight walk around
the cabin while waiting hours to take off from New York's Kennedy Airport.
(image: Associated Press)

Carriers are required to provide adequate food and potable drinking water for passengers within two hours of the aircraft being delayed on the tarmac and to maintain operable lavatories and, if necessary, provide medical attention.

The rule also:

• Prohibits airlines from scheduling chronically delayed flights, subjecting those who do to DOT enforcement action for unfair and deceptive practices;

• Requires airlines to designate an airline employee to monitor the effects of flight delays and cancellations, respond in a timely and substantive fashion to consumer complaints and provide information to consumers on where to file complaints;

• Requires airlines to display on their website flight delay information for each domestic flight they operate;

• Requires airlines to adopt customer service plans and audit their own compliance with their plans; and

• Prohibits airlines from retroactively applying material changes to their contracts of carriage that could have a negative impact on consumers who already have purchased tickets.

BIG NOTE: Read the above carefully again. It specially mentions only 'U.S. airlines'. There is current consideration by the DOT of imposing similar rules for foreign carriers.

Stuck on the Tarmac Survival - Part 1 of 3

Last weekend my flight from Reagan National (DCA) in Washington, DC to Dallas-Fort Worth (DFW) was stuck on the tarmac for over an hour. This reminded me on how prepared one should be for this specific kind of delay to one's travel plans.

I barely made my connection in DFW right as that flight had just begun boarding. But there are some things the traveler can do in advance to help alleviate the problem.

- If your flight plans require a connection, then carefully consider the connection time. Many of us just want to get where we're heading to. But consider that the two connecting flights may not be in the same terminal also. I normally choose the connection that has at least a one hour layover. This also allows to take care of personal things such as grabbing something to eat, stretch one's legs or to just use a normal size restroom.

- Consider the airlines on-time performance for that particular flight. The time of day is sometimes a factor not to mention that some airports are notorious for delays.

- Have the telephone numbers of the airlines in your reservation, especially one that connects you to customer service. If you are in a panic, then you can call the airline from your seat. Since the flight has not taken off and the flight attendants are also strapped to their seats, no one's going to ding you for using the phone.

- Check the airlines policy online regarding tarmac and other types of delays.

- Have something to do that you want to do. Leafing through an airline magazine from the seat back pocket will do no good if you had no intention of reading it. Since the plane has not taken off, some electronic items such as phones and tablets should help have hours of features to mind the time.

Part 2 posts info about the DOT ruling regarding tarmac delays.
Part 3 posts more info about dealing with tarmac delays.

REWIND: Signature's 'Les Miserables' (2008) Part 2

Two clips from Signature Theatre in Washington, DC. One about presenting the landmark musical 'Les Miserables' and the second of the construction of the set. The theatre is actually located in the Shirlington village of Arlington, VA. More info at signature-theatre.org.

REWIND: Signature's 'Les Miserables' (2008) Part 1

Since we are in the midst of a current revival of excitement for the epic musical 'Les Miserables' with the recent 25th Anniversary Concert in London, thought it would be of interest to post production photos from the Signature Theatre version. Especially since returning from Washington, DC this past week, this would be an appropriate time for a revisit to Signature's 'Les Mis'.

The production played the Max theatre from December 2008 and extended to March 2009. The production starred Greg Stone as Jean Valjean. He performed the role of Chris in the national touring company of 'Miss Saigon' ten years earlier which made one of its final stops in Honolulu, Hawaii.

Knowing the production would be presented in a small theatre, I wondered how could the production be staged. Just the sheer number of cast members in 'Les Mis' would appear to be direction nightmare.

Greg Stone as Jean Valjean

But director Eric Schaeffer found how to reinterpret the piece for the Signature stage. This 'Les Mis' had an almost punk edge from the appearance of leather-like material in some costumes to the glass and twisted metal comprising the set design.

None of the epic feel of the musical was lost as the production enveloped the audience with the cast making some entrances through the audience. The lack of a proscenium allowed the production to use the full width of the stage.

The performances were equally a surprise especially Stone. He displayed the strapping figure needed to portray the ex-con and a sterling vocal to match. Felicia Curry's harmonic and boyish Eponine was a stand out in the ensemble.

The company on the barricade.

This production set a standard for this reviewer. Theatre companies which try to duplicate the scale of the original production will pale in comparison. Find the right talent to take the stage and more than half the battle is won. As concert versions have proven, the strength is in the score and storytelling.

After 'Les Miserables' and this seasons's 'Sunset Boulevard,' one wonders what production Signature will tackle to match these highlights. For more info on the theatre company and their current and past productions, visit signature-theatre.org.  Click "Read more" below for more production photographs.

The empty barricade set.

The company singing "One Day More"

Washington, DC: Less than 48 Hours Later

American Airlines counters in Terminal B at
Reagan National Airport

And there it was. A visit to the Washington DC that began at arrival Friday afternoon and ends early Sunday morning. The preceding posts reveal what can be accomplished in roughly 42 hours from arrival to departure.

Concourse to all terminals (above & below)

Now this wasn't a choice. A combination of factors from available flights, vacation days and a planned itinerary shoehorned the duration of this visit to DC.

Thank goodness Reagan National Airport is a short taxi ride from downtown DC and the terminals at 6am on a Sunday aren't that busy. As usual the longest journey of a good vacation is the return trip.

From Reagan National to Dallas-Fort Worth and then to Honolulu International. Then finally home.

Click here to learn more about Reagan National Airport.

Review: 'Sunset Boulevard' Rises at Signature

Signature Theatre is taking the dare and staging another mega musical on their intimate stage. Two years ago the theatre found success with ‘Les Miserables’ and its possible that history will repeat itself with Andrew Lloyd Webber’s ‘Sunset Boulevard.’

Based on the 1951 Billy Wilder directed film classic, the show is about faded silent-movie star Norma Desmond (Florence Lacey) now a recluse clinging to memories and dreams of a comeback. When Joe Gillis (D.B. Bonds), a down on his luck screenwriter stumbles upon her mansion, they both find opportunity in their chance meeting. Always along Norma’s side is her faithful butler Max (Ed Dixon) who has secrets of his own. Joe eventually falls in love with budding writer Betty Schaeffer (Susan Derry) and finds he cannot escape from the clutches of Norma’s dark world and its material temptations.

Lacey’s features may be too soft to convey the brilliance of a silent career, but she captures the fragile desperation of Norma and is on the verge of finding the insanity that the role demands. When it counts she sings magnificently. Her performance of the comeback anthem “As If We Never Said Goodbye” is intense and she rips the heart out of “With One Look.”

Bonds has the task of bridging Norma’s has-been world with the joy of the Hollywood hopefuls. At this performance after opening night, he appeared tentative as Joe. Perhaps a bit too boyish looking, he does manage to convey the cynicism in the title song and both he and Lacey work magic when they sing “The Perfect Year.”

Dixon continues the succession of actors to embody the deadly serious authority of Max. Derry conveys the innocence of Betty and scores in the romantic duet with Bonds in “Too Much In Love to Care.”

“Let’s Have Lunch”, “The Lady’s Paying” and “Every Movie’s a Circus” are three ensemble numbers that bring excitement and movement. Choreography by Karma Camp makes appropriate use of the limited stage space.

The book writers and lyricists, Don Black and Christopher Hampton, respect the original movie source and allow Lloyd Webber to hijack the dramatic moments for the best musical numbers. The score remains rich, lush and melodic thanks to the Broadway sound of the 20-piece orchestra.

Inevitably the production will be compared to the 20-ton gorilla that was Norma’s massive Hollywood palazzo and giant staircase on Broadway. Instead scenic designer Daniel Conway turns the auditorium into a back lot studio complete with ropes and catwalks hovering above. The stage echoes the original with plush baroque accents around a tiled thrust stage. The orchestra is placed on a balcony obscured by a Mediterranean-like grillwork.

There is nothing wrong with the look of the modest staircase that Norma climbs throughout the evening except in its revelation. This motion gives the impression of those stairs pulled from a ceiling to enter an attic. But the replica of the antique limousine succeeds in making an appearance to strut the length of the stage. The costumes by Kathleen Geldard remain as sumptuous as on Broadway from the ‘50s look of the young hopefuls to Norma’s gowns

One scene that works fluidly is the chase sequence that sets the plot in motion via a black and white film projected above the stage. This almost makes up for Joe’s final scene which is handled rather clumsily.

In the end the proceedings lead to a shattering reality and a road littered with broken dreams. ‘Sunset Boulevard’ at its core is a true dramatic musical. Even without a marquee name, the show stands on its own as a dynamic story with wonderful music. In this paired down production the result is still touching and haunting.

(All images: signature theatre)

The DETAILS

• What: Signature Theatre presents Sunset Boulevard
• Where: Signature Max Theatre, Washington, DC
• When: Tue-Wed 7:30pm; Thu-Fri 8pm; Sat 2pm & 8pm; Sun 2pm & 7pm
• Running Time: 2 hours 30 min
• Ticket Prices: $59- $85
• Opening: Dec 10, 2010 (previews from Dec 7, 2010)
• Closing: Feb 13, 2011
• Website: signature-theatre.org
• Click 'Read more' below for more production photographs.

Preview: 'Sunset Boulevard' at Signature Theatre

Signature Theatre's set design model for "Sunset Boulevard"

Trailer for 'Sunset Boulevard' at the Signature Theatre.


Clips from the production playing Dec 7, 2010 to Feb 13, 2011

Signature Reveals 'Sunset Boulevard': The Venue

Signature's current production.

Theater at a corner of Cambpell Ave (image: Signature)

Exterior (2008)

Anchoring a corner of Shirlington's main avenue is the Signature Theatre, a nationally known producer of musical theater and contemporary works. Part of this vibrant arts neighborhood since 2007, Signature moved into its $16 million building after thirteen years in its original warehouse space.

The 48,000 square foot facility includes two black box theaters which allows for versatile staging. This also means the seating plan changes based on the production requirements. Their main stage Max theater seats 299 and the smaller Ark theater seats 99.

Signature now competes with the major venues in Washington, DC in attracting theater audiences. Their presentation of Broadway quality productions in an intimate playing space attracts an audience of over 80,000 each season.

Second floor bar & lobby (2008)

The theater's box office is located at street level. The main theatre is on the second floor and its smaller venue located on a third level. The second floor lobby feels more like a bar in a loft space with high ceilings and exposed pipes. A glass wall measuring 14 feet high and 140 feet wide offers a full length view of Campbell Ave straight through the heart of Shirlington.

My first visit to Signature was to experience their spectacular production of 'Les Miserables' which was a brave departure for the theater to stage an epic musical in an intimate theater space. That was in the month of December 2008. With 'Sunset Boulevard' also premiering during the winter months, my hope is one day to visit Signature in a warmer time of year.

More info at signature-theatre.org. Single tickets available online at ticketmaster.com. Patrons needing taxi service is requested to notify the theater by intermission. Parking is available on site. Backstage tours offered only on certain dates.

Above & below: lobby photos (images: Signature)

Bridge to second floor lobby (2008)

Second floor lobby theater shop (2010)

Lighting detail over main stairway to the theaters (2008).

On the Menu: Aroma Indian Restaurant

Walking along Campbell Avenue in Shirlington, the choices are many for lunch or dinner. Since it's been a while since I've eaten Indian cuisine, I ventured into Aroma. The restaurant sets some high standards for itself with 'Finest Indian Cuisine' under its name.

Since the dinner crowd was only beginning to stir I was offered my choice of table and took one by the window. The restaurant became full within the hour with walk-up diners occupying half of the dining room and a private party sectioned off occupying the other.

Since I'm not too familiar with the heat or flavor of Indian Cuisine, the Mixed Grill ($17.95) plate under the Chef Recommendations looked promising. I was surprised when a server came table side to stir fry the dish of tandoori chicken, chicken tikka, seekh kababa, tandoori shrimp and mixed vegetables. Sides of nan bread, jasmine rice and a saucy chickpeas dish were served with the entree. Preceding the meal was a basket of papadum (wafer thin flour crackers) and a coriander chutney in lieu of the standard bread and butter.

Mixed Plate

papadum

The tandoori chicken and shrimp had enough heat from its pepper marinate for my taste buds. I was expecting a richer flavor from the chicken tikka. The seekh kababa resembled a meaty sausage and your enjoyment of it will depend on your taste for lamb. The nan, rice and chana masala (chickpeas) helped to balance the meal between bites of the different flavored proteins.

The meal was filling and was far too much for me to finish on my own. A glass of Riesling ($6.50) from California made a sweet companion to the spicy entree combination plate.

The dining room is a combination of warm lighting, dark wood and Indian accents and a ceiling of slim bamboo trunks. Tables along the banquettes are closer together than the tables in the middle of the dining  room.

Chana masala

Nan bread

As the restaurant became full, it appeared the servers were in no rush to turn the tables. It was difficult to get a server's attention to bring the bill but I was not waiting endlessly when someone came to clear my table. I asked for the bill and it came soon after. 

The meal was tasty and filling if not terribly exciting. But with so many choices in Shirlington, another restaurant will have its turn the next time I'm on this avenue.

More info at aromarestaurant.com. Open Mon-Sun 11:30am-10pm, Fri & Sat until 10pm. Aroma operates a second location in Washington, DC. 

Jasmine rice

Shirlington: The Urban Village of Arlington

Shirlington's main street Campbell Avenue (Dec 2010)

The evening presents a return visit to Shirlington, Arlington's arts and entertainment capital, where my next destination, the nationally-known Signature Theatre Company, is located. In the same complex of the theatre is the Shirlington Library. Add to this an entire avenue of specialty shops and restaurants anchored by a Hilton Garden Inn hotel and an AMC Loews seven-theatre multiplex.

Campbell Ave (Dec 2008)

Shirlington is conveniently accessed via taxi from Downtown Washington, DC as no metro station is located in the town's center. Taxi fare one way is about $18-$22 including tip depending on your destination in Downtown DC. Note that taxis are not obviously present in Shirlington so be prepared to call for one.

With so many dining choices in a concentrated area, there should be a cuisine to suit your palate. Then combine this with a play or musical at the Signature Theatre. Tickets should be purchased in advance. Visit  signature-theatre.org for the current season's productions.

The word Shirlington is a combination of "Shirley" (from the Shirley Highway or Interstate 395) and "Arlington." Officially called an urban village, it is located in the southern part of Arlington County, Virginia.

More info at villageatshirlington.com for a complete list of restaurants, shops and services. Click here for a detailed report about the redevelopment of Shirlington.

Review: 'Candide' Glitters at the Shakespeare

A sparkling revival of Leonard Bernstein’s ‘Candide’ is lovingly filling the stage of the Shakespeare Theatre Company’s Sidney Harman Hall in Washington, DC. Newly adapted from Voltaire’s satiric novel by director Mary Zimmerman, the work is brought closer to a perfect staging that has been much sought after in many a revisal ever since the work premiered on Broadway in 1956.

Zimmerman sums up the complicated tale: “It’s the story of a young man named Candide, who is the illegitimate nephew of a Baron in a small province called Westphalia. Along with the Baron’s daughter, he is tutored by a professor named Doctor Pangloss, who claims that Westphalia is “the best possible place in all the world.” When Candide falls in love with Cundegonde, his benefactors kick him out of the kingdom without a penny. The rest of the story follows Candide making his way in the world, having adventure after adventure. He is candid and honest and innocent, and he is mistreated and swindled over and over again. Cundegonde and her family also meet great misfortune in a war, so some of Candide’s adventures involve reuniting with her.”*

The glorious overture is still intact and the show quickly moves forward into some of its most well known numbers: “Life is Happiness Indeed,” “Best of All Possible Worlds” and “Oh Happy We.”

Adding to this funny and witty retelling are some well cast roles. Lauren Molina (Broadway’s ‘Rock of Ages’) as Cunegonde has the heavy task of performing “Glitter and Be Gay.” She is in fine form to display the comic tone of the song and the endurance to achieve its operatic proportions with ease.

As the naïve hero Candide, Geoff Packard delivers a delightful and finely sung performance. He is the hero of the story and has more than enough charm to win the audience over as he endures endless peril in each adventure. Hollis Resnik has the most showiest of the supporting roles as the Old Lady. She earns deserved applause for the tango infused “I Am So Easily Assimilated”.

The musical’s weakness is the tale itself which becomes tiring at the start of act two. One to two adventures too many, one wonders when does the misfortune end? Zimmerman manages to keep things alive utilizing the lavish sets by Daniel Ostling, the gorgeous costumes of Mara Blumenfeld and glowing lighting by T.J. Gerckens until the emotional “Make Your Garden Grow” is rendered by the ensemble at the end.

In a story that travels over oceans and through almost a dozen countries, Osltling creates a wood panel covered room where panels and trap doors shift to allow props and actors on stage or to reveal exotic backgrounds.

If some adventures falter, others make it up with enthralling stagecraft and performances resulting in a sumptuous revival. If a production of ‘Candide’ was Broadway ready again, this one could possibly be it even if for a limited run. The chequered Broadway history of this musical would agree.

(All images: Shakespeare Theatre Company)

The DETAILS

• What: Shakespeare Theatre Company presents 'Candide'
• Where: Sidney Harman Hall, Washington, DC
• When: Tue, Wed, Sun 7:30pm; Thu-Sat 8pm; Sat & Sun 2pm
• Running Time: 2 hrs 45 min
• Ticket Prices: $68-$88
• Opening: Dec 7, 2010 (previews from Nov 26, 2010)
• Closing: Jan 9, 2011
• Website: shakespearetheatre.org
• Click 'Read more' below for more production & rehearsal photos

*from the Shakespeare Theatre Company publication 'Asides'