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.”
Stages are alight this Spring with a deluge of exciting productions -- some starry, as in the case of The Shakespeare Theatre'sΒ Uncle VanyaΒ featuring Hugh Bonneville, equally beloved inΒ Downton AbbeyΒ and the joyousΒ Paddington films.
The beauty of theater -- and in all these inventive, upcoming works -- is that it serves up various points of view with drama, wit, and intellect often concealed under the guise of boisterous entertainment. At its best, theater quenches our thirst for a deeper connection to our fellow human beings. At its worst, it'sΒ Cats. Still, theater sometimes gives you a musical moment that makes your spirits soar.
A robust fall/winter for dance in the DMV gives way to a lighter but still bountiful spring, with an impressive variety of utterly inviting events and performances to choose from -- from Decolonized Beatz Indigenous World Pride at Atlas Performing Arts, and international troupe CompaΓ±Γa Medusa exploring queer themes at Dance Place, to several collaborators melding tap dance with different genres of movement and music to keep us swinging all through the season.
ATLAS PERFORMING ARTS CENTER
1333 H St., NE
202-399-7993
www.atlasarts.org
Decolonized Beatz Indigenous World Pride -- Celebrating the work of Indigenous storytellers, organizers, and performers, the arts and performance series Decolonized Beatz brings Indigenous World Pride to Arena Stage (1101 6th St. NW) on May 30, and the next day to Atlas with music and dance performances, panel discussions, film screenings, a drag show featuring Lady Shug and Ritni Tears, and a closing dance party with beatz by DJ Rivolta Sata (6/1, Lang Theatre, free admission but registration required)
BALLETNOVA CENTER FOR DANCE
βI was talking to a couple of homosexuals down in Melbourne, and they were talking to me about listening to Kylie,β John Grant says rather gleefully, clearly relishing this anecdote from his recent tour of Australia. βAnd I was like, βShe came and guested at my show at Royal Albert Hall, and came on stage during βGlacier.ββ The Aussiesβ response? βThey were just looking at me like I had two heads on my shoulders. They were looking at me like a German Shepherd hearing a weird noise.
βIt was really hilarious,β he continues, βbecause it was just as epic for me as it was for them hearing that.β
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